TIMOTHY JONES
A COMPLETION OF THREE CHORUSES FROM
MOZART’S REQUIEM K. 626
LACRIMOSA AMEN SANCTUS
FULL SCORE
1
These notes are extracted from the editorial introduction to a complete edition of the Requiem which can be fo und on the Mozart Fragments Project website (www.ram.ac.uk/mozartfragments). The rationale for the completions c ompletions No. 8 Lacrimosa
Süßmayr’s completion of Mozart’s ‘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 1
than Süßmayr’s other liturgical music. It does, however, have two serious problems: 1. The text of the chorus comprises the lines 52 –7 of the poem. Unlike the tercets of the
Sequence’s 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:
Tearful will be that day When from the ashes shall rise The guilty man to be judged. Spare him therefore, O God:
Pie Iesu Domine, Dona eis requiem.
Merciful Lord Jesus, Grant them rest.
Süßmayr splits the text at ‘Pie Iesu Domine’ at bar 19. This might be taken as a subtle re-
reading of the text: ‘Spare him, O God – merciful Lord Jesus’. But it makes no sense, after the intervening basset horn solo (bars 19 –21) 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’, Süßmayr ignored
Mozart’s plan for the conclusion of Sequence. The present completion retains the basic shape of S üßmayr’s continuation; but it reworks the voice leading of the inner parts in bars 9 –19, resets the underlay of bars 22 –3 to the words words ‘Pie Iesu
Domine’ in order to retain the integrity of the poem’s final couplet in the movement’s closing section, it cites the opening of the Introit in bars 24 –6 (and thereby sets up a strong motivic link with the following fugue), and it ends on V so that the t he ‘Amen’ chorus can follow attacca. No. 9 Amen
Since the rediscovery of Mozart's sketch for the exposition of this fugue in the early 1960 s it has often been remarked that its subject is an inversion of the opening theme of the Introit and that it 2
has the potential for stretto treatment. These two factors – inversion and stretto – bring to mind the epic fugue 'Cum sancto spiritu in gloria Dei Patris, Amen' which co ncludes 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. 147 –169. The first report on Mozart’s sketch was Wolfgang Plath, ‘Über Skizzen zu Mozarts Requiem’, Bericht über den Internationalen Musikwissenschaftlichen Musikwissenschaftlichen Kongress, Jassel 1962 (Kassel: Bärenreiter, 1963), pp. 184 –7. For
2
discussion of the motivic content and contrapuntal potential of t he fugue subject, see inter alia: Richard Maunder, Mozart’s Requiem: On Preparing a New Edition (Oxford: OUP, 1988), pp. 47 –9; and Robert D. Levin, Mozart: Requiem (Stuttgart: Carus, 1993), p. xxv.
1
These notes are extracted from the editorial introduction to a complete edition of the Requiem which can be fo und on the Mozart Fragments Project website (www.ram.ac.uk/mozartfragments). The rationale for the completions c ompletions No. 8 Lacrimosa
Süßmayr’s completion of Mozart’s ‘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 1
than Süßmayr’s other liturgical music. It does, however, have two serious problems: 1. The text of the chorus comprises the lines 52 –7 of the poem. Unlike the tercets of the
Sequence’s 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:
Tearful will be that day When from the ashes shall rise The guilty man to be judged. Spare him therefore, O God:
Pie Iesu Domine, Dona eis requiem.
Merciful Lord Jesus, Grant them rest.
Süßmayr splits the text at ‘Pie Iesu Domine’ at bar 19. This might be taken as a subtle re-
reading of the text: ‘Spare him, O God – merciful Lord Jesus’. But it makes no sense, after the intervening basset horn solo (bars 19 –21) 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’, Süßmayr ignored
Mozart’s plan for the conclusion of Sequence. The present completion retains the basic shape of S üßmayr’s continuation; but it reworks the voice leading of the inner parts in bars 9 –19, resets the underlay of bars 22 –3 to the words words ‘Pie Iesu
Domine’ in order to retain the integrity of the poem’s final couplet in the movement’s closing section, it cites the opening of the Introit in bars 24 –6 (and thereby sets up a strong motivic link with the following fugue), and it ends on V so that the t he ‘Amen’ chorus can follow attacca. No. 9 Amen
Since the rediscovery of Mozart's sketch for the exposition of this fugue in the early 1960 s it has often been remarked that its subject is an inversion of the opening theme of the Introit and that it 2
has the potential for stretto treatment. These two factors – inversion and stretto – bring to mind the epic fugue 'Cum sancto spiritu in gloria Dei Patris, Amen' which co ncludes 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. 147 –169. The first report on Mozart’s sketch was Wolfgang Plath, ‘Über Skizzen zu Mozarts Requiem’, Bericht über den Internationalen Musikwissenschaftlichen Musikwissenschaftlichen Kongress, Jassel 1962 (Kassel: Bärenreiter, 1963), pp. 184 –7. For
2
discussion of the motivic content and contrapuntal potential of t he fugue subject, see inter alia: Richard Maunder, Mozart’s Requiem: On Preparing a New Edition (Oxford: OUP, 1988), pp. 47 –9; and Robert D. Levin, Mozart: Requiem (Stuttgart: Carus, 1993), p. xxv.
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 cho ruses 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 V iennese 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? co ntemporaries? 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 Mozart’s ‘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 Mozart’s ‘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, Mozart’s Requiem; Historical and Analytical Studies, Documents and Score of the Fragment (Berkeley: University of California Press, 1994), pp. 35 –7 and 113 –114.
3
4
Combining these two-voice stretti in different ways pro duces 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 186–92) where the choir sings the subject in octaves accompanied by a running bass in the strings. In this completion of the ‘Amen’ fugue (bars 142 –55) 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 Süß mayr’s completion of Mozart’s ‘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 154 –63).
4
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
Süßmayr reported to Breiktopf & Härtel in 1800 that the ‘Sanctus’ (including the ‘Osanna’) was solely 5
his own work. This has been a source of contention in recent scholarship on the Requiem. As several scholars have pointed out, the o pening 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 Süßmayr 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 Süßmayr verbal instructions about these thematic connections, or perhaps he had access to sketches by Mozart 6
which have since been lost. No documentary sources have come to light to corroborate the authenticity of the themes of the ‘Sanctus’. In the present edition bars 1 –9 are based on the assumption that the soprano line in bars 1 –3 (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 mi nor modes and the expressive decorum that was attac hed to 7
them by Mozart's contemporaries. The extrovert orchestral gestures in Süßmayr's ‘Sanctus’, however, do seem inappropriate. They are replaced with a gentler accompaniment in bars 1 –3 and with the sospirando violin figure from the Introit in bars 4 –9, 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 Süßmayr. Research on this subject reveals its potential for stretto treatment:
5
A transcription of Süßmayr’s letter is published in Günther Brosche’s Introduction to the facsimile of the autograph scores of the Requiem (Kassel: Bärenreiter, 1990). 6 In a letter to Maximilian Stadler dated 14 March 1827, Constanzae Mozart claimed that Süßmayr had access
to scraps of paper (‘Trümmer’) containing Mozart’s ideas for the incomplete movements of the Requiem. 7 Maunder 1988, pp. 40 –41.
6
Oddly, Süßmayr's fugue does not develop this fundamental property of the subject. It is highly unlikely that Süßmayr 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 Süßmayr. The unrealised potential of the fugue subject in Süßmayr’s 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 8
potential for stretto. 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 Mozart’s customary use of the lower 9
instruments.
8
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]
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9. Amen
73
Molto allegro
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48
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men,
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70
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80 80
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Tutti bassi
Basso
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men,
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81
a - m en ,
T.
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A.
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90
Organo
82
100
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83
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Organo
Tutti bassi
84
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Contrabasso
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Organo
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5 _____________ 3 _____________
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________________ ________________ _______________ 6 ________________ 6 _________________ 5 _________________ _________________ # 6 ________________ 6 ________________ 6 _______________ 3 3 5 ________________ 3 3
6 4
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#3
8 5
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#3
87
12. SANCTUS 117
Adagio
Clarinet 1 in A
p
Clarinet 2 in A
p
Bassoon 1
f
f
p
2 Trumpets in D
f
p
Bassoon 2
f
f Timpani in D/A
Alto Trombone
f
f
Tenor Trombone
f
Bass Trombone
Violin I
p
Viola
Soprano
f
p
f
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San
-
San
-
p
Bass
San
Violoncello
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p
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San
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San
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San
ctus,
San
ctus,
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San
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p
5___________ 3___________
6____________ 5____________
4__________ 2__________
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mi - nus De
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f
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mi - nus De
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f
Do
mi - nus De
Do
f
Do
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p
Basso
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Do
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-
San
San
San
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f
p
p
Tenor
f
San
Alto
f
p
Violin II
-
mi - nus De
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us
Sa
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ba - oth:
us
Sa
us
Sa
us
Sa
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ba - oth:
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ba oth:
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ba - oth:
f
f 6
6 4
6
6
6 4 3
6 5
4
3
5 3
6
118
6
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ni
sunt coe
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6 5
9 7
6
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6
5 4
3
