T JONES Mozart Requiem 3 Choruses
T JONES Mozart Requiem 3 Choruses
T JONES Mozart Requiem 3 Choruses
LACRIMOSA
AMEN
SANCTUS
FULL SCORE
1
These notes are extracted from the editorial introduction to a complete edition of the Requiem
which can be found on the Mozart Fragments Project website (www.ram.ac.uk/mozartfragments).
The rationale for the completions
No. 8 Lacrimosa
Smayrs completion of Mozarts Lacrimosa torso is, despite the infelicities of the voice leading in
its inner voices, a powerful continuation of the opening with more character and harmonic ingenuity
than Smayrs other liturgical music.1 It does, however, have two serious problems:
1. The text of the chorus comprises the lines 527 of the poem. Unlike the tercets of the
Sequences first 17 stanzas, these last six lines consist of a quatrain followed by a couplet:
Lacrimosa dies illa,
Qua resurget ex favilla
Iudicandus homo reus;
Huic ergo parce Deus:
Smayr splits the text at Pie Iesu Domine at bar 19. This might be taken as a subtle rereading of the text: Spare him, O God merciful Lord Jesus. But it makes no sense, after the
intervening basset horn solo (bars 1921) to reprise the opening music in D minor to the
words Dona eis requiem. Whom, we might ask, are we supplicating to grant them peace?
2. By ending the Lacrimosa with a plagal cadence rather than a fugal Amen, Smayr ignored
Mozarts plan for the conclusion of Sequence.
The present completion retains the basic shape of Smayrs continuation; but it reworks the voice
leading of the inner parts in bars 919, resets the underlay of bars 223 to the words Pie Iesu
Domine in order to retain the integrity of the poems final couplet in the movements closing
section, it cites the opening of the Introit in bars 246 (and thereby sets up a strong motivic link with
the following fugue), and it ends on V so that the Amen chorus can follow attacca.
No. 9 Amen
Since the rediscovery of Mozart's sketch for the exposition of this fugue in the early 1960s it has
often been remarked that its subject is an inversion of the opening theme of the Introit and that it
has the potential for stretto treatment.2 These two factors inversion and stretto bring to mind
the epic fugue 'Cum sancto spiritu in gloria Dei Patris, Amen' which concludes the Gloria of Mozart's
incomplete C minor Mass K. 427/417a (1783). Like the 'Amen' chorus, the 'Cum sancto spiritu' is the
1
See, for example, Friedrich Blume, Requiem but no peace, Musical Quarterly, 47 (1961), pp. 147169.
The first report on Mozarts sketch was Wolfgang Plath, ber Skizzen zu Mozarts Requiem, Bericht ber den
Internationalen Musikwissenschaftlichen Kongress, Jassel 1962 (Kassel: Brenreiter, 1963), pp. 1847. For
discussion of the motivic content and contrapuntal potential of the fugue subject, see inter alia: Richard
Maunder, Mozarts Requiem: On Preparing a New Edition (Oxford: OUP, 1988), pp. 479; and Robert D. Levin,
Mozart: Requiem (Stuttgart: Carus, 1993), p. xxv.
2
2
concluding movement of an extensive, cantata-like setting of a long liturgical text, and its subject is a
hexachord with one note per bar. Its blend of contemporary and archaic features anticipates the
style of the authentic choruses in the Requiem. There are, however, three significant features which
distinguish the 'Cum sancto spiritu' model from the 'Amen' sketch: the former is in the major mode,
sets eight words and is in the customary Alla breve metre of Viennese stile antico fugues; the latter is
in the minor mode, sets only one word, and is unusually in triple time (presumably because
Mozart planned metrical continuity between the 'Lacrimosa' and the 'Amen'). Moreover, as Robert
Levin and others have pointed out, Amen fugues in Classical Viennese church music tend to be
short and have a narrow tonal range, unlike Mozart's Cum sancto spiritu' fugue.3
For this completion, the broad compositional questions engendered by Mozart's sketch and its
historical, generic and stylistic context are therefore:
1. How long should the fugue be, and how widely should it modulate, given the competing
claims of (a) the need to form a sufficiently weighty conclusion to the entire Dies irae, and
(b) the generic strictures of Amen fugues by Mozart's contemporaries?
2. How could the stretti be laid out to give the music formal coherence and a climactic
rhetoric?
The present completion is based on the premise that the cumulative formal and rhetorical weight of
the Sequence (that is, all the movements from Dies irae to the Lacrimosa torso) requires a longer
and wide-ranging conclusion than the conventional generic demands of an Amen fugue would
allow. Mozart's sketch itself establishes a measured pace in the unfolding of its material which
would preclude anything other than the most cursory nod towards the subject's stretto potential in
a concise fugue. (The initial fugal exposition alone takes 24 bars.) And in the Requiem's Kyrie
eleison double fugue, Mozart had already demonstrated his intention to treat musico-liturgical
precedents as a living tradition, especially with regard to the tonal breadth of the fugue. While the
'Quam olim Abrahae' section of the Offertory lasts only 22 bars, it is enclosed within a longer motetlike movement, rather than a self-sufficient fugue, and so is not a valid model for the Amen.
There are, naturally, many ways of laying out a stretto fugue. For this completion I adopted the
principles underpinning the form of the Cum sancto spiritu of K. 427/417a but adapted them to the
peculiarities of the material of Mozarts Amen sketch. Those principles are:
The pace at which the material unfolds in the fugal exposition remains constant throughout
the movement: in the case of the Amen this is a norm of one chord per bar.
After the fugal exposition the further entries of the subject follow a consistent pattern of
stretto combinations.
The initial entry of the inverted fugue subject is the most important subsidiary climax of the
fugue.
The highest entry of the subject forms the climax in the last section of the fugue.
The rhythmic profile and stepwise motion of Mozarts Amen fugue subject lends itself to a
multiplicity of stretto combinations of which the following are merely a selective sample:
3
See Levin 1993, p. xvi; Christoph Wolff, Mozarts Requiem; Historical and Analytical Studies, Documents and
Score of the Fragment (Berkeley: University of California Press, 1994), pp. 357 and 113114.
4
Combining these two-voice stretti in different ways produces a series of three- and four-voice stretti,
for example:
With so many possibilities to choose from, there is a danger that the fugue might become a mere
compendium of these contrapuntal devices. This completion limits itself to two-voice stretti at the
octave until its later stages, where stretti by inversion lead to the climax of the fugue.4
The conclusion of the completion draws on two different models. The first is the climax of the Cum
sancto spiritu fugue from the C minor Mass (bars 18692) where the choir sings the subject in
octaves accompanied by a running bass in the strings. In this completion of the Amen fugue (bars
14255) the subject and its inversion are stitched together to form a broad arch while the
accompanying string lines are made of the subject, the answer and their inversions in diminution.
The second model is the plagal cadence which ends Smayrs completion of Mozarts Lacrimosa.
Whether or not this cadence is authentic, it has undoubtedly become iconic, and it seemed fitting to
at least nod to it at the end of the movement (bars 15463).
A completion that gives freer rein to the wide possibilities of stretto can be found on the Mozart Fragments
Project website (www.ram.ac.uk/mozartfragments).
5
No. 12 Sanctus
Smayr reported to Breiktopf & Hrtel in 1800 that the Sanctus (including the Osanna) was solely
his own work.5 This has been a source of contention in recent scholarship on the Requiem. As
several scholars have pointed out, the opening of the Sanctus has the same melodic profile as the
opening of the Dies irae, and the subject of the Osanna fugue bears resemblances to the main
theme of the Recordare and to the subject of the Quam olim Abrahae fugato. Perhaps Smayr
alone was responsible for the decision to use these motivic reminiscences in the Sanctus and
Osanna, but they complement with remarkable consistency the web of motivic links between the
movements finished in particella by Mozart. Perhaps the dying Mozart gave Smayr verbal
instructions about these thematic connections, or perhaps he had access to sketches by Mozart
which have since been lost.6 No documentary sources have come to light to corroborate the
authenticity of the themes of the Sanctus.
In the present edition bars 19 are based on the assumption that the soprano line in bars 13 (and
possibly bars 4-5) comes from Mozart. Richard Maunder's claim that a D major movement is out of
place in the sombre context of a Requiem seems to be based on an anachronistic perception of the
expressive qualities of the major and minor modes and the expressive decorum that was attached to
them by Mozart's contemporaries.7 The extrovert orchestral gestures in Smayr's Sanctus,
however, do seem inappropriate. They are replaced with a gentler accompaniment in bars 13 and
with the sospirando violin figure from the Introit in bars 49, in an attempt to maintain the sobriety
of the earlier movements of the Requiem.
The Osanna fugue takes as its starting point the subject used by Smayr. Research on this subject
reveals its potential for stretto treatment:
A transcription of Smayrs letter is published in Gnther Brosches Introduction to the facsimile of the
autograph scores of the Requiem (Kassel: Brenreiter, 1990).
6
In a letter to Maximilian Stadler dated 14 March 1827, Constanzae Mozart claimed that Smayr had access
to scraps of paper (Trmmer) containing Mozarts ideas for the incomplete movements of the Requiem.
7
Maunder 1988, pp. 4041.
6
Oddly, Smayr's fugue does not develop this fundamental property of the subject. It is highly
unlikely that Smayr would have 'accidentally' invented a subject with this potential and then failed
to exploit it, but more likely that Mozart who showed a penchant for stretto fugue in K. 426, K.
427/417a, K. 626 (the Kyrie fugue) and elsewhere might have invented a subject whose potential
was not perceived or not fulfilled by Smayr. The unrealised potential of the fugue subject in
Smayrs completion therefore points unmistakably to the Mozartian authenticity of the theme.
The present completion is based on the assumption that Mozart would have realised his subject's
potential for stretto.8 In line with Mozart's mature style, the strings and woodwind instruments play
colla parte until the closing bars of the fugue. Throughout no. 12, the basset horns are replaced by
clarinets in A, in keeping with the key constraints in Mozarts customary use of the lower
instruments.9
An alternative completion, positing an alternative solution with a less rigorous pursuit of stretto, is available
on the Mozart Fragments Project website (www.ram.ac.uk/mozartfragments).
9
See Levin 1993, p. xxvi.
8. Lacrimosa
[Larghetto]
2 Basset-horns
2 Bassoons
Alto Trombone
2 Trumpets in D
Timpani in D/A
67
Tenor Trombone
Bass Trombone
Violin I
Violin II
Viola
Soprano
La
Alto
La
Tenor
Bass
Violoncello
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cri - mo
cri - mo
La
cri - mo
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La
sa
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Basso
68
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9. Amen
Molto allegro
Basset-horn 1
73
Basset-horn 2
Bassoon 1
Bassoon 2
2 Trumpets in D
Timpani in D/A
Alto Trombone
Tenor Trombone
Bass Trombone
Violin I
Viola
Violin II
Soprano
Alto
Tenor
Bass
Violoncello
men,
men,
men,
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a - men,
men,
a - men,
men,
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74
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87
12. SANCTUS
117
Adagio
Clarinet 1 in A
Clarinet 2 in A
Alto Trombone
Timpani in D/A
2 Trumpets in D
Bassoon 2
Bassoon 1
Tenor Trombone
Bass Trombone
Violin I
Violin II
Viola
Soprano
San
Tenor
Bass
- ctus,
5___________
3___________
Do
6____________
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f 6
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ba - oth:
ba - oth:
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San - ctus,
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San - ctus,
San - ctus,
San - ctus,
San - ctus,
Violoncello
San - ctus,
San - ctus,
p
San - ctus,
Alto
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ba - oth:
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118
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ri - a,
glo
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glo
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glo
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glo
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glo
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glo
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tu
tu
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tu
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5
4
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9
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119
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S.
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Vla.
Tbn.
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D Tpt
Timp.
Allegro molto
a.
A.
a.
a.
T.
B.
a.
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colla parte
Basso
san - na
san - na
sis, in
ex -
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O - san - na
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cel
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in
in
in
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120
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Vln. I
S.
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in
cel
ex -
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in
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O - san - na
in
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cel
sis, -
sis,
sis.
cel
B.
T.
A.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
Bsn 1
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in
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cel
sis.
- sis,
in
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ex -
31
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Cl. 2
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A. Tbn.
Vln. I
S.
sis,
cel
T.
in
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ex -
in
cel
ex -
in
ex -
ex -
cel
sis,
sis,
in
ex -
cel
in
cel
in
cel
sis,
sis,
ex -
ex -
sis,
cel
san - na
in
sis,
Basso
A.
Vc.
B.
Vln. II
Vla.
121
Tbn.
B. Tbn.
D Tpt
Timp.
in
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sis.
in
cel
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122
41
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A. Tbn.
Vln. I
S.
sis,
in
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cel
san - na
in
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cel
sis,
san - na
in
sis,
T.
sis.
cel
Basso
A.
Vc.
B.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
ex -
cel
san - na
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in
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in
cel
cel
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sis, in
ex -
51
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Vln. I
S.
ex -
- sis.
cel
sis.
san - na
in
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ex -
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in
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cel
sis, in
san - na
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cel
in
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cel
sis.
T.
in
Basso
A.
Vc.
B.
123
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
sis.
124
61
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Cl. 2
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A. Tbn.
Vln. I
S.
sis.
sis, in
ex -
cel
san - na
in
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cel
sis,
sis.
san - na
in
ex -
cel
sis,
san - na
T.
Basso
A.
Vc.
B.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
in
ex -
cel
sis,
in
ex -
71
Cl. 1
Cl. 2
A. Tbn.
Vln. I
S.
ex -
sis,
cel
sis, in
ex -
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cel
in
in
cel
sis,
sis, in
ex -
cel
ex -
ex -
cel
cel
in
sis,
cel
ex -
in
in
in
sis,
ex -
sis,
cel
cel
T.
Basso
in
Vc.
A.
B.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
Bsn 1
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125
ex -
sis,
cel
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126
Cl. 1
81
Cl. 2
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Bsn. 2
A. Tbn.
Vln. I
S.
san - na
san - na
in
ex -
in
ex -
cel
san - na
in
cel
in
ex -
cel
sis,
in
cel
ex -
san - na
ex -
cel
in
si, in
ex - cel
sis,
sis.
sis.
T.
Basso
A.
Vc.
B.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
ex -
cel
Cl. 1
91
Bsn 1
Bsn. 2
A. Tbn.
Vln. I
S.
sis.
san - na
in
ex -
cel
ex -
in
ex -
cel
san - na
in
in
san - na
sis,
sis,
O -
sis.
sis,
ex -
127
T.
Basso
A.
Vc.
B.
Vln. II
Vla.
Tbn.
B. Tbn.
D Tpt
Timp.
Cl. 2
128
Cl. 1
100
Cl. 2
Bsn 1
Bsn. 2
Timp.
A. Tbn.
Tbn.
B. Tbn.
Vln. I
S.
sis,
T.
in
ex -
in
ex -
cel
cel
cel
Basso
A.
Vc.
cel
B.
Vln. II
Vla.
D Tpt
sis,
in
ex - cel
sis,
in
ex - cel
sis,
in
ex - cel
sis,
in
ex - cel
sis,
in
ex - cel
sis,
in
ex - cel
sis,
in
ex - cel
ex - cel
in
sis,
sis.
sis.
sis.
sis.