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At Mozart's death on 5 December 1791 he had only completed the opening movement (Requiem aeternam) in all of the orchestral and vocal parts (although recent evidence suggests that a few bars of orchestration were added in by someone else).
- Really? There is evidence that Mozart entered the music for the Requiem aeternam at two or more different times during the composition process, based on the analysis of the varying ink colouration on the MS. My understanding of the graphological studies however is that non-Mozartean hands appear only during or after the Kyrie - aside from the obvious forgery of Mozart's signature and the date 1792 on the first folio, which was added by Franz Xäver Süßmayr. phi1ip 05:05, 1 Mar 2005 (UTC)
- Well, if you want to put it in less certain terms that's fine but I've seen a few Mozart scholars say that on newsgroups and the like. Sounds like you may know more about the topic than me; so you can remove it if you want.
- I'm just curious to know which actual sections of the movement are being supposedly regarded as the work of others - I've studied Mozart's MS in facsimile, and I'm fairly convinced that virtually all of the 48 bars of Requiem aeternam are Wolfy's. phi1ip 05:55, 3 Mar 2005 (UTC)
No oboes? If they were omitted it might be worth saying so, since you'd expect them in a "small classical orchestra." Or at least a dummy like me would. --Wetman 06:49, 2 Mar 2005 (UTC)
- There are indeed no oboes.
- And the word "comprising" is there to tell you exactly what the orchestra consists of... phi1ip 05:55, 3 Mar 2005 (UTC)
According to the Dover score of the Requiem, all of the continuo of the Hostias is by Sussmayer except for the first bar. Is there newer evidence to suggest otherwise? I would appreciate a response from the person who reversed my edit, uncommented, as "mistaken".
- Given the lack of response I have put information back in. If you want to change it, please provide some sort of refutation for the Dover score's information. It may be that newer information has come to light that assigns the Hostias continuo to Mozart rather than Sussmayer, but that seems unlikely to me considering that the general trend seems to be assigning less to Mozart rather than more (for instance, the Dover score also has the Kyrie as 100% Mozart's work which we know not to be true now.)
Wasn't Franz Jakob Freystädtler involved too? (Perhaps the orchestration of the Kyrie was finished by him. See for example this and this) --Zoz 22:52, 2 December 2005 (UTC)
lead
IMO, an article of this length needs a much longer lead, not just one sentence.--Bcrowell 00:27, 5 December 2005 (UTC)
kyrie
I'm puzzled by the addition someone has made describing the Kyrie fugue as "immensely difficult" -- difficult in what way? It's kind of fast and has an impressive sound (although the theme is derived either from Handel's Messiah or a popular tune at the time), but I don't see what's "immensely difficult" about it.
Images of original score
Given the *vast* quantity of discussion of the authenticity of the original scoring is it possible to get scans of the original score into the wikicommons and linked here? I did some searching online but I was unable to find any high quality scans or pictures of the (nearly) original scores. All I found was this low quality image of the last page, and this high quality fragment. Speed8ump 22:34, 7 November 2006 (UTC)
1958 World Fair
Is there any source whatsoever to this claim? I've scoured Google (admittedly not a great source, but I was curious) and found only the exact same paragraph as is printed in this article, sometimes reworded. A look at the page to which is being reffered shows a missing corner, but I have yet to find a reliable source. This whole passage reeks of urban legend to me. Even an article in modern times may not be entirely accurate regarding this issue, as urban legends are often reprinted in the press. While this may be a difficult proposition for such a minor article, does anyone have an accurate source from the time in which this occured? -70.74.135.191 07:01, 13 November 2006 (UTC)
- [1] shows a facsimile of the last page with the missing piece. The caption reads: "Down right the missing corner, that has been torn off and stolen at the 1958 World Fair in Brussels." Since this is from the Austrian National Library's official website concerning an exhibition of the manuscript, it sounds pretty convincing. [2], a review of the facsimile edition of the requiem, also refers also to the 1958 theft. --FordPrefect42 22:53, 13 November 2006 (UTC)
The facsimile edition of the Requiem contains an essay by Günter Brosche that explicitly describes the theft. I saw the folios myself in 2002 and can confirm the torn section. The reference for this is:
Mozart, Wolfgang Amadeus. Requiem, K. 626, D minor (Süssmayr). [Requiem, KV 626. Vollständige Faksimile-Ausg. Im Originalformat der Originalhandschrift in zwei Teilen nach Mus. Hs. 17.561 der Musiksammlung der Österreichischen Nationalbibliothek herausgegeben und kommentiert von Günter Brosche.] Documenta musicologica, 2. Reihe, Handschriften-Faksimiles, vol. 27. Musica manuscripta, vol. 6. Graz: Akademische Druck- u. Verlagsanstalt; Kassel, New York: Bärenreiter, 1990.
There was an earlier facsimile edition published in 1913 (prior to the vandalism), and the two may be compared to discern the missing portion.
I have a low-definition scan of the folio in question on my website at http://www.carringbush.net/~pml/music/mozart/requiem/mozart.html
I'm also concerned about the assertions marked as [missing citation] that have been added to the article since I last looked in on it.
Philip Legge phi1ip@netscape·net 04:21, 24 November 2006 (UTC)