Wolfgang Amadeus Mozart - Requiem in D minor, K. 626
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- Опубликовано: 28 май 2024
- - Composer: Wolfgang Amadeus Mozart (27 January 1756 -- 5 December 1791)
- Orchestra: English Baroque Soloists
- Choir: Monteverdi Choir
- Conductor: John Eliot Gardiner
- Soloists: Barbara Bonney (soprano), Anne Sofie von Otter (contralto), Hans Peter Blochwitz (tenor), Willard White (bass)
- Year of recording: 1990
Requiem in D minor for soloists, chorus & orchestra, K. 626, written in 1791.
This version is the Süssmayr completion of the Requiem, with the following structure:
00:00 - I. Introitus: Requiem aeternam (choir and soprano solo)
04:44 - II. Kyrie eleison (choir)
----- III. Sequentia: (text based on sections of the Dies Irae)
07:15 - Dies irae (choir)
09:01 - Tuba mirum (soprano, contralto, tenor and bass solo)
12:09 - Rex tremendae majestatis (choir)
14:20 - Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
19:02 - Confutatis maledictis (choir)
21:17 - Lacrimosa dies illa (choir)
----- IV. Offertorium:
24:05 - Domine Jesu Christe (choir with solo quartet)
27:38 - Versus: Hostias et preces (choir)
----- V. Sanctus:
31:35 - Sanctus Dominus Deus Sabaoth (choir)
32:58 - Benedictus (solo quartet, then choir)
38:12 - VI. Agnus Dei (choir)
----- VII. Communio:
41:25 - Lux aeterna (soprano solo and choir)
The Requiem was composed in Vienna in 1791 and left unfinished at the composer's death on the 5th of December. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem mass to commemorate the 14th of February anniversary of his wife's death.
The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, the bulk of this copy derives from the hand of Franz Süssmayr.
The Requiem contains five sections, each capped by a fugue: Requiem/Kyrie, Sequence ("Dies Irae"), Offertory, Sanctus, and Agnus Dei. Throughout, choral writing drives Mozart's music; even the four soloists rarely sing alone. The darkly colored orchestra supports the choir with often vivid motives. This pictorial aspect is most evident in the Sequence: "Tuba mirum" (solo trombone), "Rex tremendae" (regal dotted-rhythms), "Confutatis" (fiery accompaniment), and "Lachrymosa" (sighing strings). Not only do individual movements display an extraordinary level of motivic unity, Mozart carefully creates motivic relationships across the entire Requiem. The very first melody sung by the basses ("Requiem aeternam"), for instance, is repeated at the very end and also echoes throughout the work; the opening melody of "Dies irae" translates into major mode to open the "Sanctus." Mozart is never afraid, however, of acknowledging his debt to earlier traditions of church music. His fugues deliberately reference Bach, and in the first movement alone he quotes from Michael Haydn's Requiem, Handel's funeral anthem for Queen Caroline, Messiah, and the Gregorian chant known as the "Pilgrim's Tone." 
Видеоклипы
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What I find sad is that Mozart died just when he was finally breaking out of his simpler Style Galant phase, partly due to his discovery of Bach's music when Mozart was 25 or so. Imagine if he had lived to 50 or 60!
took words out of my mouth... i feel the same
Mozart had been writing polyphonic music both before and after he discovered Bach's music. He learned it from the religious music he was exposed to as a child in Salzburg which composers there called the "stile antico" and further from his counterpoint studies with Padre Martini. Perhaps there's a more noticeable effort to include longer episodes of fugal counterpoint in his works around the time he wrote k.387, but counterpoint is is still present even in his earlier works, especially the sacred music.
Only 35 when he died... most people are just getting started at 35.
Before encountering Bach in 1781, Mozart's contrapuntal writing was inspired by the Salzburg masters, Johann Ernst Eberlin, Leopold Mozart, Michael Haydn and his childhood teacher Padre Martini of Bologna, and Fux's Gradus ad parnassum (published in 1725).
Chronological list of Mozart's counterpoint (number inside brackets indicate the age he wrote them)
Galimathias Musicum in D major K. 32: Fugue (10): ruclips.net/video/TPcMkmrJams/видео.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Gloria (12): ruclips.net/video/XidEZEG3W3s/видео.html
Missa solemnis in C minor "Waisenhausmesse" KV 139 Credo (12): ruclips.net/video/XidEZEG3W3s/видео.html
Mass in C major "Dominicus Messe" K66 Gloria (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html
Mass in C major "Dominicus Messe" K66 Credo (13): ruclips.net/video/rlQJ2bgK3RQ/видео.html
Te Deum in C major K. 141 [double fugue] (13): ruclips.net/video/3HLGJ7m-66U/видео.html
Miserere in A minor, [4-part contrapuntal study] K.85 (14) ruclips.net/video/_PxqQOUn1v0/видео.html
Kyrie in D minor [4-part contrapuntal study] K.90 (16): ruclips.net/video/ZOFFJJ1fAmU/видео.html
KV125 - Pignus Futuræ Gloriæ (16): ruclips.net/video/dQ77xyyffjA/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Gloria (17): ruclips.net/video/X9T_URjVl5I/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Credo (17): ruclips.net/video/YvCnr15hh78/видео.html
Missa in honorem Sanctissimae Trinitatis in C major KV 167 Agnus Dei* (17): ruclips.net/video/g2teM5WckzA/видео.html
String Quartet No. 8 in F major K. 168 (17): ruclips.net/video/3JDrlCG-y_E/видео.html (the slow movement is a canon in F minor)
String Quartet No.11 in E flat major K. 171 (17): ruclips.net/video/3_jlQ8tD4Uc/видео.html (written in the style of double fugue)
String Quartet No. 13 in D minor K. 173 (17): ruclips.net/video/q5MVDsqIqCY/видео.html
Fugue In G Minor KV 401 (17): ruclips.net/video/tXpV-gpgkQw/видео.html
Missa Brevis in F major K. 192 (18): ruclips.net/video/QprTvKApc8c/видео.html
Dixit Dominus K193 (18): ruclips.net/video/RBldFpGPijE/видео.html
Magnificat K193 (18) ruclips.net/video/dlvD8CSdoUc/видео.html
Missa Brevis in D major K. 194 (18): ruclips.net/video/_7liw0vQFPI/видео.html
Litaniae de venerabili altaris sacramento K243 [double fugue] : VIII Pignus (19): ruclips.net/video/U-PDJozhBLI/видео.html
Misericordias Domini in D minor K.222* (19): ruclips.net/video/o4PQRbBn3OI/видео.html
Missa Longa in C K262 Kyrie [double fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Gloria [triple fugue] (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Credo (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Missa Longa in C K262 Sanctus (19): ruclips.net/video/yCDFfN7g_Bk/видео.html
Vesperae solennes de confessore in C, K.339 - 4. Laudate pueri Dominum (24): ruclips.net/video/c3rDwFFQ6bQ/видео.html
Missa solemnis in C, K.337 - 5. Benedictus (26): ruclips.net/video/ghAa3BJ4b5I/видео.html
Praeludium and Fugue KV 394 (26): ruclips.net/video/m9vVu8rNON4/видео.html
Suite in C K.399 - I. Overture K399 (26): ruclips.net/video/UHgs7-u7wGQ/видео.html
Sonata for Keyboard and Violin No. 29 in A Major, K. 402: II. Fuga (26): ruclips.net/video/mMe4MCsH2WY/видео.html
Trio (Fuga a 3) in G Major, K. 443 (27): ruclips.net/video/UtLOtTDk848/видео.html
Fugue In E Flat Major KV 153 (27): ruclips.net/video/_2rpWr3etWo/видео.html
Fugue In G Minor KV 154 (27): ruclips.net/video/2t42ZCeLxlk/видео.html
Grosse Messe in C minor KV 427 Kyrie: ruclips.net/video/97Twh_q8lQs/видео.html
Grosse Messe in C minor KV 427 Jesu Christe - Cum Sancto Spiritu [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html
Grosse Messe in C minor KV 427 Sanctus - Osanna [double fugue] (27): ruclips.net/video/97Twh_q8lQs/видео.html
Adagio and Fugue for String Orchestra in C Minor, K. 546 (32): ruclips.net/video/PFXF0Aysh4w/видео.html
Fantasia for mechanical organ in F minor K594 (34): ruclips.net/video/Qka_HMc2ajc/видео.html
Fantasia for mechanical organ in F minor K608 (35): ruclips.net/video/Jkh8Re4JUCw/видео.html
Overture to Die Zauberflote K620: ruclips.net/video/c2TGbfzTx2A/видео.html
Der, welcher wandert diese StraBe voll Beschwerden (35): ruclips.net/video/kB56nw1zx-o/видео.html
Requiem in D minor K626 Introitus: ruclips.net/video/sGg2AwyNZA4/видео.html
Requiem in D minor K626 Kyrie
(35) ruclips.net/video/8ybTabIfLgY/видео.html
Requiem in D minor K626 Domine Jesu (35): ruclips.net/video/i4DyyUvZws4/видео.html
+classical counterpoint in string quartets, quintets, symphonies, concertos (K449: ruclips.net/video/NtXTjLLT7Yo/видео.html K459: ruclips.net/video/61ODdVR2DFo/видео.html Canonic Minuet of Serenade for winds in C minor K388 ruclips.net/video/qk0MV_cJfvQ/видео.html )
Magnificent Counterpoint in the Finale of Mozart's Jupiter Symphony: ruclips.net/video/YTxYykhQZbI/видео.html
The Ingenious Fugal Finale of Mozart's G Major Quartet, K. 387: ruclips.net/video/uoXDHOyfJ-k/видео.html
The Incredible Finale of Mozart's K. 590 Quartet in F Major: ruclips.net/video/nkbdUjjfRTQ/видео.html
Invertible Counterpoint in the Finale of Mozart's D Major String Quintet, K. 593: ruclips.net/video/IQbxsGtyc2g/видео.html
Mozart: Canon for four voices, in C major, Anh. 191, K 562c: ruclips.net/video/YC9bKfzXC18/видео.html
@@jackjack3320 Only 1 upvote for that post? You made such an effort...
My God, the f minor entry in the Tuba Mirum at 9:52 , its just makes me speachless!
The tenor part is my favorite from Tuba Mirum
@@ValkyRiverreminiscent of magic flute
25:53 "Don't call me marmalade, call me Cici" :)
😂
OMG
Mine's worse:
Come holy comrade
Room is easy
Your a legend
english teachers are crying rn
If God allows me to be in heaven, I want Mozart's music to surround me.
I believe in God myself but the point I want to make here is I really do 'feel something' when I listen to Mozart's music like this... what a brilliant requiem and composer, it seems like he connected with a higher power, to me at least.
What do you mean if “God Allows” you? You can know for certain right now on Earth by accepting Christ and working every day to make the world a better place of good and peace. Not trying to be preachy but that’s the truth.
@gary Kaczmar according to the NDE experiences, in heaven there is a music so beautiful and perfect that no human music can minimally approach to it...
JGC and Aleksander, Catholics believe that God gives you the sanctifying grace to reach heaven as a gift of your baptism, but it can be lost through mortal sin. You then regain the sanctifying grace of God by repenting, feeling sorry for your sins, and confessing them to a priest who absolves you (as is prescribed by Christ in the Gospel of John 20:23). It is, in the end, God who decides whether or not you go to heaven when you are judged by Christ - both perfectly just and perfectly merciful. This is probably what Gary is getting at, saying "if God lets me" is a way of being humble before the awesome power of God.
Please everyone pray for me, I will try to remember to pray for you.
May God bless you and have mercy on the soul of Herr Mozart.
@@paologalliani4172 It sounds that in heaven they play Mozart all the time.
12:20 - When the class pet runs away and the whole choir has to go looking for him
good one
good one
Thank you for the laugh, Will.
Hahaha! Best music joke I've heard today!
i dont understand anyone can explain me plss
"Displace one note, and there would be diminishment" Antonio Salieri
This sentence tells us everyting we need to know about this music
@@davidjames1684 That's logically false. It implies perfection. Any change from its current form would automatically lead to less quality. Whether that's true is another question but metaphorically the statement does make sense.
@@davidjames1684 dude, you don’t get the statement. It‘s not to be taken literally. Is it really that difficult to understand?
@@davidjames1684 This is my last reply because you are clearly quite the idiot. If your premise holds true, then how about taking away another note, and another note? At what point, isn't the piece perfect anymore? Perfection is something ultimate. The statement is CLEARLY not meant to be taken literallyanyways, but is there to point out that Mozart's music was exactly as it should have been. That every note seems to be placed with such elegance and care. That he couldn't have imagined it to be better if anything changed.
You'd probably reply to a love letter that writes: "I will love you forever" that this is IMPOSSIBLE because the author would die at some point and hence would stop loving.
On a completely different note: This quote is from a movie and nothing more. The connection people draw between Mozart and Salieri stems more from the movie Amadeus than real facts.
Now walk off you wimp.
@@davidjames1684 I just read the first lines of your comment and I am already too triggered to continue. "Just because Mozart may have thought his work was good or even "perfect", that doesn't mean that all other people would."
The quote is from a movie. In that movie the quote is not even from Mozart but Salieri. You lack any ability to connect premises with a sound conclusion. Muting this thread now. Your stupidity annoys me.
Including like 4 minutes of Recordare? That shit drags
I love him. His music is just heavenly, brilliant and beautiful. I never knew a human being so spiritual and close to Godliness. He is God's gift to the music world. There is so much depth and emotion. I think he is more than genius. I love him.
I had the honor to sing in a choir and with Haendel´s Messiah this Requiem it is the top, and sincerely I also think Mozart was, is, and will be the best God´s musical gift for mankind.
00:00 - I. Introitus: Requiem aeternam (choir and soprano solo)
04:44 - II. Kyrie eleison (choir)
----- III. Sequentia: (text based on sections of the Dies Irae)
07:15 - Dies irae (choir)
09:01 - Tuba mirum (soprano, contralto, tenor and bass solo)
12:09 - Rex tremendae majestatis (choir)
14:20 - Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
19:02 - Confutatis maledictis (choir)
21:17 - Lacrimosa dies illa (choir)
----- IV. Offertorium:
24:05 - Domine Jesu Christe (choir with solo quartet)
27:38 - Versus: Hostias et preces (choir)
----- V. Sanctus:
31:35 - Sanctus Dominus Deus Sabaoth (choir)
32:58 - Benedictus (solo quartet, then choir)
38:12 - VI. Agnus Dei (choir)
----- VII. Communio:
41:25 - Lux aeterna (soprano solo and choir)
Detective Home you are an absolute saint
@@nataliestandish2560 I could tell that you are using your phone while listening to this.
thanks a lot
Thanks,I can find dies irae really quick.
Thank you so much!
71 people thought there were too many notes.
Nick Jacobson LOL
Heueeheh
Nick Jacobson no. Just too fast for a funeral
I would like to upvote this but YOU actually got 71 of them.. hard choices
Amadeus reference?
I'm agnostic almost atheist but Mozart truly makes me wonder if there is a god, how can a mere human compose such beautiful sounding music is beyond my comprehension.
shadowjuan2 If a classical composer makes you wonder about god then you are really weak minded.
I roll my eyes everytime I read a comment like this. We have no trouble saying humans are evil scum when we do bad things but when we so very rarely actually bring something beautiful in this world like this music, we give the glory to a fictitious being called ''god''.
This song (Requiem - Rest) was made by Mozart, and he dedicated it fully to God and the catolic liturgical traditions. You just said that you appreciated a song which all the time worship someone that for you is "fictitious", but for the composer is FACT! Curiously confused from you. I can't understand why are you reclaiming about people that recognize the esential message in this song and don't follow your atheist nihilist view. If you felt someting beautiful that made you feel good, so you have to thanks to Mozart and his afflatus.
Just food for thought. If there is no being who transcends our laws of the universe and is absolutely true, perfectly good, and beautiful, then how can there be absolute truth, good, and beauty in this world?
So therefore, I assume you did not think it was wrong for Nikolas Cruz to shoot the students of Marjory Stoneman Douglas High School, since in his eyes it was "good". According to your definition of good, why would it be wrong for me to rob your house? Certainly, to rob your house and gain wealth from it would be good for me! Natural selection would be playing out, since I am taking your resources for myself. Maybe I would take your wife, so I could breed more children. Do you see why this doesn't work? In every culture all around the globe, murder of the innocent is wrong. Why? You cannot answer that without acknowledging the existence of God.
Such a magnificent work of art. I can't even imagine how this work could be even better but we all know if Mozart lived to complete it, he'd have found a way! Amazing recording. Gardiner has a way with interpretation.
Yes, and at times startlingly bizarre - some wildly exaggerated changes in dynamics and choral articulation at times. I have always admired Jiggy's work, but not (I fear) his ways with Süssmayer & Mozart.
I always fancy Mozart in a minor key. Something…🤴🏻
My father and I heard Mozart's Requiem at Grant Park in Chicago. They put free concerts there during the summers. It was quite a privilege.
The Requiem of Mozart is a true treasure to the testament of humanity! To even think that Mozart passed away after composing till 22:59 but had drafted the Lacrimosa movement is stunning! I once read a story about the day of the Requiem - "On the very eve of his death, [Mozart] had the score of the Requiem brought to his bed, and himself (it was two o'clock in the afternoon) sang the alto part; Schack, the family friend, sang the soprano line, as he had always previously done, Hofer, Mozart's brother-in-law, took the tenor, Gerl, later a bass singer at the Mannheim Theater, the bass. They were at the first bars of the Lacrimosa when Mozart began to weep bitterly, laid the score on one side, and eleven hours later, at one o'clock in the morning (of 5 December 1791, as is well known), departed this life." (from the Allgemeine musikalische Zeitung news "magazine") I love this piece! Thank you so much for sharing!
For choristers like myself, these videos are priceless. This is not the first one I've used to help me learn and practice, I'm sure it will not be my last. Thank you very much for your efforts - they are truly appreciated!
one of the best interpretations of the requiem in my opinion
just listening to the music&staring at the RUclips title inevitably makes me question why do I deserve ever living on the same planet with him
Wolfie played his Viola and directed at the same time. I studied a ton of his work in college looking for his Viola concertos. He played them often with his orchestra but not a single Viola concerto exists. I postulated that Viola solos were not big sellers then as now and a severe shortage of toilet paper...
He played any one of his French Horn, Bassoon, Clarinet and Violin concerti at any given time, he just always called it his, Viola concerto.
I don't think there's a single more terrifying piece than Mozart's Confutatis Maledictis. It gives me chills every time I hear it!
19:02
Have heard Verdi’s dies irae?
Ligeti's Requiem comes to mind, as well as some of the passions by Penderecki. Do love the Confutais though.
No soy amante de la música clásica y pensé que no la podría escuchar entera, pero la obra es muy buena.
Best Requiem ever! I listen from beginning to end.
Takes me back to singing this in school. Loved it then and now. Bass, if you wondered.
We'll never see a musical genius like Mozart in our time nor anytime beyond.
We need 1000-1500 years to have another Mozart 😅
what about westside gunn?
Alexander Scriabin exists, and you might not have heard of him.
@@Whatismusic123 @morunic777 @iltrafficantediconoscenza there's this kid called Jacob Collier who.. Seems to have that potential. Might be worth a few minutes of your time. :)
@@Whatismusic123He’s no genius.
19:02 I remembered this in Amadeus.
Have you seen it here? ruclips.net/video/UMwaiA581AQ/видео.html
@@abimaelmello493 yes
A brilliant scene. But sadly totally fictional. And by that I not simply mean that Salieri never had any hand in this, but rather that the parts that Mozart tells him to write down in that scene, are not parts of the fragments that Mozart left behind when he died. These are already Süssmayrs additions.
Quotenwagnerianer who cares if it’s fictional anymore, it’s just a movie and maybe some scenes may have been added that aren’t accurate to history but it’s art regardless. Does something need to be accurate to be art? We don’t even know what truly happened, we weren’t there to truly see.
I watched the movie a few days ago! and i searched for this part! Thank you so much :)!
Após ouvir o Requiem, consegui perceber a grandeza e a dimensão da obra de Mozart no planeta 🌎
Thank you again for an incredible recording mated with a wonderfully synced vocal score. These are invaluable when I'm listening at work and trying to learn the music.
Thank you for uploading this! It is making learning the alto solo much easier! ❤
Thank you so very much for uploading the music score. To be able to follow note by note is such delight. Wonderful deed you gifted us all by taking the time to do it. It breaks my heart to think of Mozart's physical and emotional distress at the time of his death while creating such an awe-inspiring musical jewel.
My favorite music score, no doubt God spoke through Mozart's music.
I try to follow it very carefully and join in Mozart's breath-taking plea to God.
What a masterpiece indeed... This man is truly da Vinci of music
No. This man is the Mozart of music. He doesn't need da Vinci do be compared to.
This is truly the dark souls of music
da vinki
@@landonbodynskyo4160 berserk too
@@landonbodynskyo4160one of the bulgaria moments of all time
There are no words to describe the profound intensity of this music. Wow. Thank you.
I would say this is probably by favourite piece of music of all time. I often find myself enjoying masses and requiems, although I do not adhere to the faith of Christianity, mainly as a result of the beauty of the juxtaposition of orchestra and choir. And there are great pieces in this category, such as Bach's Mass and Handel's "Messiah," but absolutely nothing approaches the emotional depth of this masterpiece. Every single movement is incredible in its own right, but if I had to chose the three best in my opinion, they would be the famous "Dies Irae," of course, "Confutatis maledictis" and "Domine Jesu Christe." Thank you for uploading!
there is nothing heart arresting like classical music. In fact, it points back to the time of the creation when seeing all He created, God exclaimed; it is beautiful. classical music is beautiful beyond normal beauty
Some people emphasize the fact that Mozart died leaving the requiem unfinished, and that it was finished by other composers. The fact is, 2/3 of the requiem was finished by Mozart. (ruclips.net/video/M_0wBTkkT7U/видео.html)
And Sussmayer and others used material from Mozart's earlier masses to finish the requiem.
Compare Spatzenmesse in C K220: Gloria with Requiem K626: Agnus Dei
.
(ruclips.net/video/jsBEbWRarDg/видео.html)
Compare Spatzenmesse in C K220: Credo with Requiem K626: Lacrimosa
.
(ruclips.net/video/jsBEbWRarDg/видео.html)
Compare Mass in C minor K427: Sanctus with Requiem K626: Sanctus
.
(ruclips.net/video/58xJg-OrvoI/видео.html)
Compare Misericordias Domini in D minor K222 with Levin's completion of Requiem K626: Amen.
(ruclips.net/video/o4PQRbBn3OI/видео.html)
(ruclips.net/video/sGg2AwyNZA4/видео.html)
Thank you so much!!
Pas si sur
I'm sheltering in place due to corona virus. As of 3/27/20 650 thousands of people infected, over 30 thousands dead and no end in sight. Gyms, theaters, concert halls, movies, sport events are shut down and we are not supposed to congregate. Mozart and especially this requiem makes isolation livable. He is a true genius.
magnificant recording - whereby you hear obviously that Mozart was greatly impressed by Michael Haydns Requiem because he and Leopold Mozart performed it as a musician
Just a quick correction, the solo tenor that participated in this specific recording was Anthony Rolfe Johnson (1940-2010) and the solo bass was Alastair Miles.
Bach and Mozart are the composer i like most.I admit to hear most Bach.But this and the magic flute and g-moll sinfonie are really absolute master works.
tThe greatest art is when the artist makes the utterly most tragic to feel good and enjoyable . I think I must have fallen in love with Mozart in forever
2:50 is so beautiful
After hearing only a few lines, I could tell this is an excellent orchestra/choir.
Really? 😂
Süßmayr did a great job to finish worthily such a masterly requiem of such a master!
Wrong! Sussmayr stole the entire Requiem and passed off most of it as his own.
@@DanielFahimi you may be right, but there is no evidence in literature 👍
@@MusiExplora There is 100% proof. If you are intrested, tell me.
@@DanielFahimi I'm actually very interested.
@@FrostDirt It was a troll and you fell for it lmao
Close to godliness! The best music ever written along with Beethoven's Ninth Symphony
+Lorenzo De Angeli I'm rather partial to Mozart's Great Mass in C minor, but this piece follows not far behind :)
olla-vogala Too right!
Lorenzo De Angeli You’re discounting Beethoven’s Missa Solemnis.
I think also Bach St. Matthew Passion and Mahler's 9th Symphony and Scriabin's Poéme de l'Extase deserve that title 😉
Lorenzo De Angeli Nah, Ive heard better symphonies than Beethoven’s fifth
*Introitus* or *Requiem*
Requiem aeternam dona eis, Domine,
et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
et tibi reddetur votum in Jerusalem.
Exaudi orationem meam,
ad te omnis care veniet.
Requiem aeternam dona eis,
Domine, et lux perpetua luceat eis.
___________________________________
Grant them eternal rest, Lord,
and let perpetual light shine on them.
You are praised, God, in Zion,
and homage will be paid to You in Jerusalem.
Hear my prayer,
to You all flesh will come.
Grant them eternal rest, Lord,
and let perpetual light shine on them.
____________________________________________________
*Kyrie*
Kyrie, eleison.
Christe, eleison.
Kyrie, eleison.
__________________________
Lord, have mercy on us.
Christ, have mercy on us.
Lord, have mercy on us.
____________________________________________________
*Dies Irae*
Dies irae, dies illa
solvet saeclum in favilla,
teste David cum Sibylla.
Quantus tremor est futurus,
quando judex est venturus,
cuncta stricte discussurus!
___________________________________
Day of wrath, that day will dissolve the world in ashes,
as foretold by David and the Sibyl.
Great trembling there will be,
when the Judge descends from Heaven,
to examine all things closely.
____________________________________________________
*Tuba Mirum*
Tuba mirum spargens sonum
per sepulcra regionum,
coget omnes ante thronum.
Mors stupebit et natura,
cum resurget creatura,
judicanti responsura.
Liber scriptus proferetur,
in quo totum continetur,
unde mundus judicetur.
Judex ergo cum sedebit,
quidquid latet, apparebit,
nil inultum remanebit.
Quid sum miser tunc dicturus?
quem patronum rogaturus,
cum vix justus sit securus?
_________________________________________
The trumpet will send its wondrous sound
throughout Earth's sepulchers,
and gather all before the throne.
Death and nature will be astounded,
when all creation rises again,
to answer the judgement.
A book will be brought forth,
in which all will be written,
by which the world will be judged.
When the judge takes his place,
what is hidden will be revealed,
nothing will remain unavenged.
What shall a wretch like me say?
Who shall intercede for me,
when the just ones need mercy?
____________________________________________________
*Rex Tremendae*
Rex tremendae majestatis,
qui salvandos savas gratis,
salve me, fons pietatis.
_______________________________
King of tremendous majesty,
who freely saves those worthy ones,
save me, source of mercy.
___________________________________________________
*Recordare*
Recordare, Jesu pie,
quod sum causa tuae viae;
ne me perdas illa die.
Quaerens me, sedisti lassus,
redemisti crucem passus;
tantus labor non sit cassus.
Juste judex ultionis,
donum fac remissionis
ante diem rationis.
Ingemisco, tamquam reus:
culpa rubet vultus meus;
supplicanti parce, Deus.
Qui Mariam absolvisti,
et latronem exaudisti,
mihi quoque spem dedisti.
Preces meae non sunt dignae,
sed tu, bonus, fac benigne,
ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
_______________________________________
Remember, kind Jesus,
my salvation caused your suffering;
do not forsake me on that day.
Faint and weary you have sought me,
redeemed me, suffering on the Cross;
may such great effort not be in vain.
Righteous judge of vengeance,
grant me the gift of absolution
before the day of retribution.
I moan as one who is guilty:
owning my shame with a red face;
suppliant before you, Lord.
You, who absolved Mary,
and listened to the thief,
give me hope also.
My prayers are unworthy,
but, good Lord, have mercy,
and rescue me from eternal fire.
Provide me a place among the sheep,
and separate me from the goats,
guiding me to Your right hand.
___________________________________________________
*Confutatis*
Confutatis maledictis,
flammis acribus addictis,
voca me cum benedictus.
Oro supplex et acclinis,
cor contritum quasi cinis,
gere curam mei finis.
_______________________________________
When the accused are confounded,
and doomed to flames of woe,
call me among the blessed.
I kneel with submissive heart,
my contrition is like ashes,
help me in my final condition.
__________________________________________________
*Lacrimosa*
Lacrimosa dies illa,
qua resurget ex favilla
judicandus homo reus.
Huic ergo parce, Deus,
pie Jesu Domine,
dona eis requiem. Amen.
_________________________________
That day of tears and mourning,
when from the ashes shall arise,
all humanity to be judged.
Spare us by your mercy, Lord,
gentle Lord Jesus,
grant them eternal rest. Amen.
________________________________________________
*Domine Jesu Christe*
Domine Jesu Christe, Rex gloriae,
libera animas omnium fidelium
defunctorum de poenis inferni
et de profundo lacu.
Libera eas de ore leonis,
ne absorbeat eas tartarus,
ne cadant in obscurum.
Sed signifer sanctus Michael
repraesentet eas in lucem sanctam.
Quam olim Abrahae promisisti et semini ejus.
_____________________________________
Lord Jesus Christ, King of glory,
liberate the souls of the faithful,
departed from the pains of hell
and from the bottomless pit.
Deliver them from the lion's mouth,
lest hell swallow them up,
lest they fall into darkness.
Let the standard-bearer, holy Michael,
bring them into holy light.
Which was promised to Abraham and his descendants.
________________________________________________
*Hostias*
Hostias et preces tibi, Domine, laudis offerimus.
Tu sucipe pro animabus illis,
quaram hodie memoriam facimus.
Fac eas, Domine,
de morte transire ad vitam,
Quam olim Abrahae promisisti et semini ejus.
___________________________________
Sacrifices and prayers of praise,
Lord, we offer to You.
Receive them on behalf of those souls
we commemorate today.
And let them, Lord,
pass from death to life,
which was promised to Abraham and his descendants.
_________________________________________________
*Sanctus*
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth!
Pleni suni coeli et terra gloria tua.
Osanna in excelsis.
_______________________________________
Holy, holy, holy,
Lord God of Hosts!
Heaven and earth are full of Thy glory.
Hosanna in the highest.
_________________________________________________
*Benedictus*
Benedictus qui venit in nomine Domini.
Osanna in excelsis.
_______________________________________
Blessed is He who cometh in the name of the Lord.
Hosanna in the highest.
_________________________________________________
*Agnus Dei*
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem.
Agnus Dei, qui tollis
peccata mundi,
dona eis requiem sempiternam.
__________________________________
Lamb of God, who takes away
the sins of the world,
grant them eternal rest.
Lamb of God, who takes away
the sins of the world,
grant them eternal rest forever.
_______________________________________________
*Lux Aeterna*
Lux aeterna luceat eis, Domine,
cum sanctis tuis in aeternum,
quia pius es.
Requiem aeternum dona eis,
Domine,
et Lux perpetua luceat eis,
cum Sanctus tuis in aeternum,
quia pius es.
______________________________________
Let eternal light shine on them, Lord,
as with Your saints in eternity,
because You are merciful.
Grant them eternal rest, Lord,
and let perpetual light shine on them,
as with Your saints in eternity,
because You are merciful.
Thank you, Most D-Rex
thank you.
Amen
I'm stunned with Domine Jesu part, fugue Quam Olim Abrahae - genius
Fantástico! Este Requiem em ré menor das melhores execuções de Mozart!
I LOVE THIS SOOO MUCH!!
Happy 266th Birthday, Mozart! 1/27/22 🎉🥳
20:20 The most beautiful moment in my opinion
For anyone wondering, anything up to the "Offertorium" can be considered authentic mozart. After that, it gets greyer and greyer.
Every time the music comes near to the end of the page, I keep instinctively lifting my hand to turn the page.
Absolutely the bestest performance! The interpretation and articulation are absolutely brilliant!!
Please her the performance with Leonard Bernstein, it is absolute breathtaking. Especially the Lacrimosa - very flat here and without impression. Sorry to contradict you.
Quanto può essere grande l'anima dell'uomo e nello stesso tempo quali abissi, obnubilato, può raggiungere.
amei as partituras!!!! obrigada!!! viva Mozart!!!
GREAT so very wondrous! & he died so young!!! So fun to have the notes too!
great combination of singers! love Bonney! but this tempo seemed a bit fast
obrigado por essa linda e magnífica publicação
Como é bom p o espírito
Mozart is the best compositor! Requiem is my favourite composition
rex tremende and lacrimosa will forever be my fav part of the requiem
0:00 was the part you came for
Movements after Kyrie sound kind of Süss ....
Re comments on speed, I guess its as much a matter of what you're used to as anything else. Have known this particular recording since it was first issued and am very happy with the tempo.
Dies- Irae as an English Rhyme
7:15 - Did I see you, did I see you? So strict so; The lava fills up, Mister Daddy say "comin' billed you"
7:32 - Quantum, tremor, rest to ruse. Quantum, just adventures. Count the strict this cuz so ruse.
7:48 - Did I see you, did I see you? So strict so; The lava fills up, Mister Daddy say "comin' billed you"
8:03 - Quantum, tremor, rest to ruse. Quantum, just adventures. Count the strict this cuz so ruse.
8:18 - { Quantum, tremor, rest to ruse.} ( Did I see you, did I see you?) 2x
8:29 - {Quantum, tremor, rest to ruse. }
8:33 - Quantum, tremor, rest to ruse. Quantum, just adventures. Count the strict this cuz so ruse.
8:44 - [Count the strict], [Count the strict ]. Strict this cuz so ruse. 2x
😂😂
Maravilloso, gracias...
Ending Lacrimosa on a plagal cadence rather than a fugue was a huge missed opportunity for Süßmayr. So many modern completions used an Amen fugue discovered in the 60s.
Consigned to flames of War. Do you believe in it? A fire which Never Dies burning you forever? Oh yes.
Perfect rendition and performances.
i know domine jesu was not written by mozart at all -seeing that he died before even finished lacrimosa- but let me tell you.... its absolutely heavenly!
He did write sketches of the domine jesu, despite not finishing his draft of the lacrimosa
Mozart actually did write the Domine Jesu and Hostias. Either he skipped over the majority of the Lacrimosa or (more likely) wrote the Domine Jesu and Hostias earlier, then went back and wrote up until the Lacrimosa.
very instructive video score. my deepest thanks.
And to think he died before he could ever finish this. Could you imagine what it would have been if he did?
I especially cry knowing he only wrote the first 8 bars of Lacrimosa and then nothing else. It's sublime as it is, but what it could have been had Mozart finished, or at least sketched it... The rest was added, first by Eybler, and then completed by Sussmayr in 1792. It was Sussmayr, and not Mozart, who wrote the Sanctus, Benedictus and Agnus Dei, although it's said that with Mozart's notes and directions.
Mozart left the essence, in sum. A very sublime, exquisite skeleton on which others, since his death, have only made versions of. Very beautiful versions, nonetheless.
I read once, that Mozart wept when we realized that "Lacrimosa dies illa, qua resurget ex favilla: judicandus homo reus" was the last text he would ever set to music.
"Tearful is that day, which shall rise from the ashes: guilty man is to be judged..."
The first 8 bars of Lacrimosa isn’t actually all that Mozart wrote, he also wrote sketches and fragments for the Offertorium section that comes after.
In fact, the actual last thing he ever wrote on the Requiem was at the end of the Hostias, which is final movement of the Offertorium.
There is even evidence that he wrote tiny fragments of the Agnus Dei, which comes several movements after the Offertorium.
Bravo, braaaavooooooo, thank you.
I’m just a soprano but this is a hella bass part.
Can confirm.
One of my favorite musical memories is singing this in a college choir and getting to lead off the Kyrie fugue.
I’m a mezzo soprano and this is probably one of the only few pieces I’m truly jealous at the altos and basses in! Lol
@@timward276 that must have been amazing
The most badass introductory classical piece - rivalling Bach's St John passion intro and Beethoven's 5th -- is the double fugue at 4:44
Damn... that Dies Irae.. just... damn
Perfect Interpretation, thanks!
I'm not gonna lie, I don't get what's so good about this. Like, it's good, don't get me wrong, but I don't understand why everyone is claiming that God was speaking through Mozart with this piece or that Mozart was God's gift to music or whatever. It just doesn't hit me.
I'll admit I'm not even one for classical music, but as music composition is my goal, I wanted to look into the classical side of music and step out of my comfort zone. After playing FGO, Salieri's design and backstory caught my eye and he quickly became my favorite servant. I wanted to learn more about him, so I listened to his Requiem and I love that. It hits me the way I think this piece hits other people. Could someone please point out the parts they find particularly touching? There are some parts I really like, such as the Lacrimosa, but apparently Mozart only wrote the 1st 8 bars of that piece. I'd also like some recommendations for other pieces if anyone could provide those. Thank you.
The whole thing is miracolous, maybe it's the awful recording, interpretation, and sound volume that don't allow you to feel this unique piece of music.
You should hear it live.
Or hear a great recording of it in full volume.
To me the most touching part is the recordare, the introus, the rex tremendae when all the choir comes in. To me and many people this is the most emotionally expressive, devastating and at the same time terrifiyng musical experience of all.
Nothing is more powerful in my opinion, after this i would choose Beethoven, some Bach pieces. But this is the closest thing to heaven, perfection, ideal world, god whatever you wanna call it, the sublime or transcendent experience. It's almost a religious experience through music. It happenned to me many times, thats why i don't listen to it often and in any regular occassion, sometines it's too much to take, too much existential burden, because it reminds us of the fear of death and and the human suffering, of ourselves and those who came before.
21:18 lacrimosa
In the Amadeus film ending scene,wen Mozart died it came to lacrimosa.
MAGNIFICENT
Ah Mozart! Not enough notes!!!
That's the joke though. I hate explaining jokes but here goes. In Amadeus the emperor says "too many notes" in this requiem there are not enough notes because it's only an unfinished sketch.
Semplicemente Sublime ❤
1. Requiem aeternam - начало 0:11 , тема фуги 0:53
2. Dies Irae 7:17
3. Tuba mirum - начало (тромбон) 9:03 , ариозо солистов 9:29
4. Rex tremendae 12:11
5. Recordare 14:22
6. Confutatis 19:04 , переход 20:19
7. Lacrimoso 21:20
Although the accompaniment is only a piano reduction, this is still very well done. Thanks for uploading!
I don't believe in an afterlife, but if there is one I hope it's a place where I can meet mozart and get to sing his requiem as he intended it to be finished! don't get me wrong, I love it how we know it, and have performed it so many times I've lost count (sometimes at funerals) but I would love to know the entirety of Mozart's vision!
If you die and hear this music you know you have made it to heaven........ God created Mozart for his own listening pleasure, hope your soul rose from your paupers grave Mozart straight up to heaven. This you deserve for uplifting millions with your music ......
And if you hear Justin Bieber's music...?
@@threethrushes it's a nightmare, god's punishing you with something worst than hell
This is the one piece Chopin requested to be played at his funeral in 1849. Some churches didn't allow females to sing, so when they did for this piece they had to be hidden behind a curtain
This is Mozarts farvell to the life,I recomand all music lover to listen to the Genius Mozarts last living message to the world….
Música para la elevación del alma... ❤❤❤
Mozart apparently was approach’d by Count Walsegg Von Stupoach through his ‘Dracula-like’ lawyer Sortschen on the 1st or 2nd of August 1791 with Scrittura in hand for a Requiem for 50 Dukaten ‘to be perform’d by 14 Feb 1792’ (the anniversary of his 20-year old wife’s death earlier in the year.) M. explain’d to Sortschen that he was given another Scrittura from the Bohemian Estates in Prague for a Coronation Opera for Leopold II to be perform’d on the 6th of September that year (he was finally given the contract for 200 Dukaten on 22 July 1791 by the impresario Guardasoni in person after approaching Salieri no less than 3 times the week before) and that his Singspiel for Schicaneder was also in need of last minute touch ups before 30 September - so that the earliest he could start would be 1 October 1791-which is approx the date of the 12-staff Berlin skizze scribbles fragment discover’d in 1960 (2 staff lines have since been removed at the bottom) shewing pieces of the Overtura to Die Zauberfloete & a snippet of the Rex Tremendae along with a 4 part 16-bar incipit of an Amen Fugue in d-minor in 3/8 time to follow the Lacrymosa...Suessmayr (who later completed Mozart’s unfinish’d fragment as best he could by 4 March 1792 bas’d on fragments like the Berlin Sketch and from hearing M. playing to him the end of the Lacrymosa, the Sanctus/Benedictus/Hossanas & Agnus Dei sections in November when he was still able to work (he fell ill on 20 Nov 1791 & probably did not commit much to writing after that-he got as far as the Lacrymosa bar 8-although he had already more or less finish’d the Domine Jesu & Hostias movements (with the qual olim fugato) sometime earlier -presumably the Lacrymosa caus’d him some pains - in rehearsing the vocal performances parts with his friends Gerl & Schak he broke down (c. 3pm on 4 Dec 1791) in sobs & ask’d to be left alone with Suessmayr so he could guide him in the orchestration if he should die (& leave Constanza with the task of getting it completed)...before he fell into his final coma, his sister in law Sophie Haibl remember’d seeing M. puffing out his cheeks emulating Trumpets & Drums explaining to Suessmayr the recapitulation of the Lacrymosa’s main theme ‘fortissimo’ for the reprise of the words ‘Lacrymosa ! Dies Illa !’ which Suessmayr illogically set to the words ‘Dona ! Eis ! Requi ! Em !’ (surely not Mozart’s intention) & ignoring the fugal Amen Sketch & tacking on a tasteless Plagal Cadence (‘Amen !’) in D-major...fortunately there are a number of competent modern musicologists who have at least attempted to complete the d-minor fugue (e.g. Maunder, Levin etal.) with somewhat mix’d success - we will leave it to future generations of AI computeris’d composers to tease out a workable completion now that the Age of Aquarius (Mozart’s sun-sign) has finally arriv’d-in the meantime we have in this torso fragment some of the greatest examples of Western Art Music in all history ...
Would like to learn more about this... can you share sourcing or more of your knowledge? Thank you for this!
@@xyz.ijk. - There is an excellent overview out in a Revis’d English version publish’d in 1999 by the great German Musicologist Christoff Wolff (‘Mozart’s Requiem : Historical And Analytical Studies , Documents, Score’ which I believe is available through Amazon - it is a MUST READ for any serious student of Mozart’s Requiem to get a Firm overview of the most relevant material pertaining to the facts as we now know them-and some insightful ‘educated guesses’ about Suessmayr’s & Joseph Eybler’s involvement in the completion - hope this helps ! You can respond here on this threadlet also for any other background in case your cloudy on any of it & I will be happy to respond !!!
Recte : Christoff Wolff
I agree, well said. We can but imagine...
Delightful!
Beautiful
1:57
I WENT ON AN INFINITE TIME LOOP AFTER HEARING THIS! HELP!!
Me too
It’s ok. My only constant these days.
It is an undeniable reality that the Universe as it exists is such, that something this beautiful can exist.
It is the very existence of such beauty, not the human accomplishment of crafting it out of the materials at hand, that makes some people, when they experience this music, wonder aloud whether there might be a God, after all.
And really -- it's such both ways. We doubt God when the Universe seems particularly ugly to us. In the face of disease, war, death, and ruin. We praise God when the Universe seems particularly beautiful to us.
But this, this Requiem is sublime. Because here, Mozart & Süßmayr have taken the reality of death and shaped its horror into a thing of unspeakable beauty. And so we think to ourselves: if *this* is what Death means, then where has that ugliness gone, that made us curse God? We allow ourselves again to wonder: in a Universe composed with such dissonance, how satisfying must the resolution be? And we realize that this resolution, while perhaps not certain, is at least possible. We allow ourselves to be humble, once again, before our own ignorance and the limits of our perspective.
Because it is pride that stands before the face of suffering and says: I know all there is to know about this, I can learn nothing from this, nothing good may come of this, and it is no longer worth living in the face of this. How untrue all of these things have proved to be, about even enormous sorrows and profound sufferings!
Mozart used bassett horns instead of oboes or clarinets as the former have a more somber sound. Genius
Великий Гений, как нужна твоя музыка именно сейчас, в это смутное время.
Mozart's Requiem is the Symphony of Death and Life! It symbolizes the judgement that God has in store for us all! To compose such a momentum work must be the work of a genius and that genius was God sent! The Requiem is one of the best orchestral masterpieces of all time!
Masterpiece!
Damn this music slaps. Mozart went HARD AF on this one
Not trying to be mean to Süßmarr or maybe it's just my bias but I really can hear a difference in engagement and quality after Mozarts composition ends.
Actually, Mozart wrote a lot less than people think. Check this out to hear Mozart's unfinished version. ruclips.net/video/M_0wBTkkT7U/видео.html
He wrote the melodies for the Lacrimosa and everything beforehand, but did not write all the parts, which Sussmayr completed. The Agnus Dei was completely written by Sussmayr.
@@pseunition6038 30 minutes worth of music by Mozart is actually more than the average person thinks he wrote. And he provided the parts that most people are consciously listening to like the melody in the first violins and the choir parts, soloists, and the figured bass even in movements after the Lacrimosa. Sussmayr simply filled in the inner orchestral parts that were missing(and his voice leading and transposition errors still had to be corrected by other composers).
07:15 Golem vs. Woolly Mammoth Tsar is super cool.
I don't know what it is about Rex Tremendae. I become an emotional wreck when I hear the song, and I don't get emotional about anything.
Interesting how the final chord of the Kyrie doesn't include a third so you can't tell whether it's major or minor.
Yeah, I've always pondered the significance of that. It's typical to include a picardy third at the end of a fugue, so I've always wondered why Mozart left it out. Even if he was trying to convey tragedy, the guiding principle of "but Jesus rose from the cross" is always supposed to wrap up the fugue (hence, picardy third). Generally speaking, when Bach didn't want to end a fugue with a major third, he would end in octaves (no fifths), so the open fifths really have a perturbing quality to them. Interestingly, when you hear this performed live, sometimes the overtones generated in a concert hall create the illusion of a major third. Perhaps it was intended to sound ghostly. Nonetheless, it is a very interesting and unusual choice.
Maybe he wanted to present a tropical style to his ending chord.Something pretty common in Renaissance motets and other religious forms..
Any time the fugue comes back, it ends with root/fifth. I believe it is to give a more final, ancient, legal quality. There is no happy ending- everybody dies one day and that is the will of god (or whatever).
@@OrlandoAponte I have always hated the picardy third. I thought the entire work ending sans third was indicative of someone else composing in Mozart's stead and didn't know whether he wanted the minor third or picardy third.
@@A_Muzik I hated Picardy thirds when I was a teenager, but they eventually grew on me. Now, I practically retch when a fugue DOESN'T end on a Picardy third. To address your hypothesis - Mozart wrote the Kyrie Eleison himself before his death, so there must be some other reason.