Mozart Requiem
Mozart’s last composition, Requiem Mass in D minor (K626), was unfinished at
the time of his death in 1791. The composer had finished the majority of the vocal parts,
sketched accompaniment ideas throughout, and made note, whether by word of mouth or
notation in the score, of his ideas about the finish of the piece. Regardless of exact extent
to which Mozart completed the mass or who finished which sections and for what reason,
the Requiem stands as an example of Mozart’s ability to synthesize the stile antico
traditions popular in Austrian sacred music of his time with fresh compositional ideas in
the grand mass style.
Stile antico, sometimes called the Palestrina style, emphasizes modal tendencies,
formal structure, strict counterpoint, and the importance of vocal music over
instrumental. The Requiem is set in D minor giving it a modal feel. These specific D
minor sections of the mass provide a larger framework for the piece. The mass follows
the normal compositional practices of Salzburg and Vienna at the time. The voices
always remain central to the piece and a fugue ends each of the five major sections.
Mozart saw fit to complete his choral parts for the Requiem first. They are
therefore its foundation. The choral writing is compact and the melody is usually
assigned to the top voice. There are no purely solo vocal movements in the mass, and
virtuosity is not demanded of the singers though the choral parts are at times technically
difficult. When solo sections occur, they are followed with choral ripieno standard to the
period. Mozart uses cantabile, imitative, homophonic, and fugual choral textures that
could be easily categorized as Handelian.
The Requiem also contains examples of the new style of music that Mozart and
his contemporaries creating. He combines huge stile antico contrapuntal statements with
sections of music that emphasize the text and its drama. Mozart frequently alternates the
choral textures of the mass, giving more variety than in the old style. The setting of the
Sequence is more like the larger masses of the period including his own C Minor Mass.
Each section of the Sequence has its own distinctive character, and textural variations are
even used on a smaller scale within each movement. The text itself is never overlapped
as in the missa brevis style favored by Archbishop Collarado, and the soprano solos have
a cantablile aria feel.
Orchestral innovations are also taking place. While keeping traditional structural
elements like the fugue, new orchestral colorings, added rhythmic interest in the
instruments, and a variety of accompaniment patterns emerge. For example, the
instrumentation of the Introit uses traditional colla parte writing, but within the same
Introit, the strings are used for obligato purposes. In keeping with the traditional
emphasis on the vocal parts, the “Dies irae,” “Confutatis,” and “Domine Jesu” have no
instrumental introductions, but the orchestration in these same sections comes close to
equaling the intensity of the text.
Key relationships in the Requiem tend to be by the third (mediant and
submediant) rather than by the fifth as in the old style. For example, the “Rex
tremendae” starting in G minor but quickly moving to D minor is framed by the “Tuba
mirum” in B flat major (down a third) and the “Recordare” in F major (up a third).
Throughout, the mass has rich and sometimes unexpected modulations.
Mozart’s operatic background allows him to master the text of the Requiem. The
key of D minor, recognized for pathos and its modal interest, is used to set the death
mass. The composer shows his interest in the text’s drama by using material from a
funeral anthem by Handel at the outset of the piece. With the exception of the “Sanctus,”
written by Sussmayr, Mozart sets the dark text of the mass using flat-sided keys, even
avoiding the dominant A major. The density of modulations within the Requiem adds
tension and increase the dramatic of the text. The dark timbre of the basset horns is used
rather than setting the piece with brighter flutes and clarinets. His orchestration also uses
the weightiness of the trombones to set texts dealing with glory as well as terror.
The use of counterpoint to emphasize text is also apparent in the Requiem. In
general, the orchestral part is always secondary to the voices, possibly a representation of
the contemporary ideal of the rights of man being more important than those of the
government. Also, Mozart rarely highlights any individual part, all parts are thereby
“created equal.” More specifically, Mozart’s use of counterpoint is especially creative in
the Sequence, where the imagery and rhyme scheme of the text, unique to the requiem
service, allow Mozart creative freedom to experiment with counterpoint and various
accompanying styles.
I. Introit
Requiem aeternam dona eis
The “Requiem aeternam” or Introit is the only section of the mass that was started
and completed by Mozart alone. The text translates as “give to them eternal rest.” This
section of the score is repeated in the middle of the mass, within the “Lacrimosa,” and
again at the end of the “Agnus Dei” using repetition to provide an overall stile antico
structure to the piece.
The diversity of vocal textures within this section also shows the synthesis of the
old and new style. The section begins with an imitative Handelian subject in the basset
horns and bassoons, but by m.#15 the texture has turned homophonic and has a question
answer feel between the choir and orchestra. At m.#21 a third texture change has a
second theme (also Handelian) entering in the instruments while the soprano soloist
provides a cantus firmus. By m.#26 the instruments are given an imitative, dotted
accompaniment figure against a homophonic choir that is developing cantus firmus
material. At m.#33 the second Handelian theme returns in counterpoint with the first
theme in both the orchestra and choir. This counts as the fifth variation of texture within
thirty-three measures. Certainly this points away from stile antico and toward a new
mass style. The “Requiem aeternam” section concludes with a repeat of the homophonic
“lux perpetua” question and answer material.
Kyrie
The “Kyrie, a strict fugue, shows Mozart’s use of stile antico. The section is set
as a formal fugue though it mixes the “Kyrie” and “Christe” texts from the outset. The
“Kyrie” text is paired with a Handelian-type fugue subject and the “Christe” text is
matched with the counter-subject. Though the fugue framework is definitely stile antico,
Mozart uses his own style in developing the material. He brings the movement to a
screeching halt in m.#98 on a vii/V chord. Following a sustained silence he moves to the
dominant chord and finally ends on tonic D minor.
The orchestration, not completed by Mozart himself, is in the old colla parte
style. The string and woodwind parts were possibly filled in by Mozart’s student
Freystadtler, and the trumpet and timpani parts were completed by Sussmayr. The
orchestration to the “Kyrie” was completed quickly the movement was paired with the
“Requiem aeternum” for a memorial service given in honor of the composer only five
days after his death. The concert notes did not mention the orchestrations by Stadler,
Freystadtler, or Sussmayr, thus passing the piece off as a completed Mozart composition.
II. Sequence
The second section of the Requiem is the Sequence. The rhyme scheme follows a
repetitive aaa, bbb, ccc pattern, and Mozart uses text clues to divide the nineteen stanza
liturgical material into smaller movements. He uses those same clues as dramatic
launching pads for his musical ingenuity. For each new dramatic section, Mozart invents
and manipulates a fresh musical idea.
Dies irae
Translating as “day of wrath” and suggesting the fear and doom of Judgement
Day, the “Dies irea” uses brass and timpani to heighten the drama. Mozart also uses
scoring to translate how fear is to be rendered, “quantus tremor est futurus,” as tremelo in
all registers of the orchestra beginning with m.#1 and continuing throughout the
movement. In mm.#19-21 toward the same dramatic end, he races the violins and the
hopes of mankind in running sixteenth notes toward the repeat the stanza “day of
mourning, day of sorrow.”
In m.#40, “quantus tremor” is presented this time as a unison bass line without
counterpoint, possibly to represent man’s separation from God and the fear of Judgement
Day. This unison passage is answered by an angel chorus of the upper voices on the “day
of sorrow” text. At m.#57 a soprano and alto duet, “upon whose sentence all dependeth,”
is echoed by the tenors and basses possibly to emphasize that “all” of mankind will
experience judgement. This movement shows that the lack of counterpoint as in the
unison bass passages can also enhance the drama of the text.
Tuba mirum
A trombone solo opens the movement and is the only such instrumental solo in
the mass. The three bar motive represents the final trumpet-call on Judgement Day. The
opening motive is echoed immediately by the bass soloist in m.#3. The same motive is
again sung in a rhythmically jagged disguise by the tenor in m.#18 to represent “mors
stupebit et natura,” the quaking of nature as death approaches.
After the initial solo, the trombone continues in counterpoint as a cantabile
countermelody. This works well because the entire movement is made up of solos by all
four voice parts beginning with the bass in m.#3, continued by the tenor at m.#18, the alto
at m.#34, and finally the soprano at m.#40. The bass text includes “cognet omnes ante
thronum” or “brings all before the throne.” The solo passages may represent each
individual voice standing alone before the Throne of God, another example of scoring to
highlight the dramatic nature of the text.
At m.#45 the texture changes from cantabile to homophonic. A “sighing” figure
on the text “cum vix justus,” or “when the just are kneeling,” is sung first by soprano and
then repeated by the choir. This movement as a whole presents two interesting textures in
that it begins cantabile in the trombone and solo voice parts then turns homophonic but
keeps a memory of the overall cantabile feel in the first violin.
Rex tremendae
The “Rex tremedae” is set with the dotted rhythm of a French Overture to be
musically fit for a King. The voices enter in dramatic fashion reminiscent of a crowd
scene in an opera or oratorio. The movement begins in homophonic style with the voices
shouting “King! King!” then changes to imitative counterpoint at m.#7 possibly
representing the crowd as they chatter amongst themselves about personal salvation,
God’s gift to each individual. Here again the text is highlighted through counterpoint.
The basset horns, bassoons, and trombones give reference to stile antico in that
they play colla parte, though the alto trombone sometimes provides contrast. At m.#17, a
descending cello falls to its knees in penitence just as the voices cry a subito piano “salve
me!” The text “save me” is presented in antiphonal fashion, first women followed by
men, then falls into a homophonic choral ending written in D minor for dramatic effect.
Recordare
In this movement, the text “recodare” translates into scoring and contrapuntal
decisions that highlight and dramatize the text. The idea of man’s individual
contemplation about God may have resulted in the scoring for solo voices rather than use
of choir and certainly the double counterpoint of the ending measures required higher
thought processes.
The “Recordare” has the longest purely instrumental section of the Requiem,
thirteen bars, and synthesizes vocal and instrumental counterpoint. In mm.#1-6 the basset
horns introduce a two part vocal-like syncopated theme that is set in counterpoint with a
separate theme in the cello line. In m.#14 the syncopated theme moves to the voices
while the cello continues in counterpoint.
This movement offers six separate musical ideas that are interwoven with the
syncopated vocal theme and cello theme. Musical idea I at m.#27 is in the basset horns
and is repeated again at m.#61, II enters at m.#34 in the violins, III at m.#72 in the basset
horns and bassoons, IV at m.#84 in the first violin, V at m.#105 again in the violins, and
finally VI at m.#119 in the first basset horn. The number of musical ideas presented is
consistent with contemplation theme of the text and shows innovation beyond stile
antico.
An inversion of the II idea happens at m.#52 in the viola and first bassoon and
again at m.#54 in the viola and cello. Double counterpoint occurs at m.#118 between the
V and VI ideas in the instruments while the voices explore their own counterpoint using
the syncopated theme from m.#1. Here again, thematic inversion and the conception of
double counterpoint reinforce the “thinking” nature of the movement.
Confutatis
This section provides another example of the counterpoint and score itself
dramatizing the mass text. At m.#1 the basses enter with an angular motive on “the
confounded” which is imitated in the tenor voice just two beats later. This gives the male
voice parts the effect of shouting from below toward heaven. The counterpoint between
the two parts represents flames leaping upward from hell. The continuation of Mozart’s
theme dutifully follows the line of text “flammis acribus addictis” downward toward the
underworld.
At m.#7 the legato women’s voices enter as if angels calling down from heaven
on the text “ with the Saints, call to me” only to be once again interrupted by the doomed
and wicked men at m.#11. The conversation between heaven and earth ends at m.#26
with the bass entering two beats prior to the rest of the choir on the text “Low, I kneel.”
Descending modulations follow in a homophonic style, mm.#26-40, and illustrate the
believer’s submission and movement downward toward his knees.
Visually, the score itself is representative of man’s condition. The rhythmic
complexity of the scoring is certainly “confounding” with five different note values in
four different registers. Throughout the section, the string parts lay down a constant
barrage of sixteenth and thirty-second notes underlying (cello/bass) and burying
(violins/viola) man in a blanket of dark sin. The sixteenth note pattern only lightens to
broken to eighth notes when the “Blessed” call down to earth at m.#7. During those same
measures, mm.#7-9, the cello/bass line remains silent removing man’s bent toward sin
and death. The scoring for the instruments above the strings on the page is very open.
The texture is thin and airy representing the heavens. The overall use of counterpoint in
the “Confutatis” is in three parts, possibly hinting at the Trinity.
Lacrimosa
The Lacrimosa is based on a plainsong chant and the text “Lacrimosa dies illa” is
set with a sighing motive in both the voices and orchestra. The instruments continue the
sighing motive while in mm.#5-8 the soprano part ascends on the text “Qua resurgent ex
favilla” to represent the resurrection. Simultaneously, the eighth note syllabic pulses of
the vocal lines interrupt themselves with silence, giving the feeling of tears dropping even
as the soprano line ascends.
This movement represents Mozart’s last contribution of new material to the
Requiem with Ebler’s notation on the score “Last manuscript of Mozart.” Mozart’s ideas
do return at in later portions of the mass as repeated sections. The Larcrimosa serves as
mid-point of the mass, and the text “dona eis requiem” is present in the Introit as well as
the Agnus Dei. Structurally the Larcimosa should end with a fugue to balance the other
large sections with their fugal conclusions. In his completion of the mass, Sussmayr used
a simple, plagal “Amen” rather than a fugue. He may not have recognized the structural
need, or possibly he did not feel competent enough in the fugal style to continue the
pattern.
III Offertory
Domine Jesu
The “Domine Jesu” section of the Requiem combines the counterpoint of stile
antico with the constant shifting of textural variety of the grand mass style. A cantabile
choral introduction at m.#1 quickly begins a shift to polyphony by m.#4. The text “Rex
gloriae” in m.#3 is shouted out with a dotted “princely” rhythm uncharacteristic of the
rest of the movement. Measures #15 through #21 remain polyphonic but return to the
material from m.#1 for development. The choir cries out for rescue from the deep pit,
“ore de leonis,” at m.# 17. Stile antico style returns at m.#21 as the material is developed
and modulated through old style sequences. At m.#32 the cantibile style has returned in
canon, however, this time solo voices are used rather than tutti choir. A stile antico fugue
paying homage to Abraham’s Old Testament covenant with God, “Abrahae promisisti,”
begins at m.#44 with the “Quam olim.”
Hostias
The “Hostias” section of the Requiem begins in E flat major but, reflective of the
new style, modulates to remote keys. The “Quam olin” fugue returns at m.#55 for
structural balance, however, here as a free fugue without the colla parte instruments.
Because of its freedom from the old style, the fugue has dissolved by m.#67.
III. Sanctus/Osanna
This section of the Requiem is entirely the work of Sussmayr. Evidence to this
includes the use of the bright key of D major and the use of sharp-sided accidentals that
posed problems for instruments of the period. Also, the short fugual setting of the text
“Osanna in excelsis” is decidedly Sussmayr as Mozart himself always set the text as
“Hosanna in excelsis.” Mozart also indicated that the other major sections of the Requiem
be finalized with more extended fugues, a style in which Sussmayr was uncomfortable.
IV. Benedictus/Osanna
This section is also from Sussmayr. The Benedictus is an extended quartet of solo
voices each entering or “coming” individually with “Blessed is he that comes in the name
of the Lord” then collectively on the same text. The instrumental interludes are longer
here and begin to challenge the vocal emphasis of the stile antico style.
The concluding “Osanna” fugue elaborates on the earlier material of the Old
Covenant “Quam olim Abrahae” though in his transcribing the material, Sussmayr
reduced the length of the fugue by four measures and changed the colle parte instruments.
Basset horns now double the women’s voices while bassoons are assigned to the men.
The movement does show originality in a new style with the “Osanna” motive that moves
in a syncopated triple meter for three bars then changes to even eighth notes.
V. Agnus Dei/ Lux Aeterna/Cum Sanctis
Also the work of Sussmayr, the “Agnus Dei” returns to D minor and has far less
vocal and instrumental activity. Even given the penitent text, Mozart’s setting would
certainly have yielded a more memorable call for God’s mercy. The “Lux Aeterna”
begins with a soprano solo and is more robust in choral and instrumental material. The
movement ends, as do the other five major sections of the Requiem with a fugal nod to
the old style thus completing stile antico framework.
Throughout Mozart’s Requiem he uses counterpoint or the lack of counterpoint to
emphasize drama of the text. At one end of the spectrum he sets solo sections lacking
abundant counterpoint to represent each man’s individual accounting to God on the Day
of Judgement. In contrast, he uses double counterpoint, inversion, and multiple themes to
represent the confusion of mankind’s relation to God and sin.
Mozart’s scoring also shows his attention to the dramatic side of the text by using
dark-sided keys and innovative orchestral combinations and colorings. The dramatic
scoring of the Requiem text can be easily recognized in an angel chorus hovering above
the leaping flames as in the “Confutatis” or the shouts of “Rex gloriae” in the dotted
French Overture style of princes. The scoring can also take a more covert guise as in the
heavy blanketing of mankind with the dots and beams of running sixteenth notes in the
“Recordare.”
Most importantly, Mozart synthesizes the stile antico style with the style of the
new mass by combining traditional musical structures with new attention to the drama of
the text. He is very comfortable using the fugue as an overall structural tool while
varying textures, vocal and instrumental, within the small confines of the individual
sections of the Sequence. Mozart utilizes the color of the traditional d minor mode
alongside his constant and sometimes unexpected modulations.
Respectfully,
Kam Malone
Mozart Requiem
Midterm
Dr. Orr
Kam Malone