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Journal of Siberian Federal University. Humanities & Social Sciences 3 (2014 7) 498-509 ~ ~ ~

УДК 783.29

Once again on Mozart’s (Issues of Intonation-and-Style Analysis)

Andrey Yu. Sapsuev* Krasnoyarsk State Academy of Music and Theatre 22 Lenin Str., Krasnoyarsk, 660049, Russia

Received 14.10.2013, received in revised form 26.12.2013, accepted 11.01.2014 The article considers the hypothesis of the possible endings of Wolfgang Mozart Requiem . Based on the study of the epistolary heritage of the composer the author attempts to reconstruct the events of the last days of the great Viennese classics, as well as to identify the Requiem`s author attitude to death. The author gives reasons for the early end of Mozart’s life, addresses the issues of philosophical understanding of the problems of death. When considering a vocal-symphonic work researchers usually apply intonation-and-stylistic analysis that allows to draw conclusions about the organic nature and thematic unity of all parts of the cycle. The usage of the musical-rhetorical vocabulary and terminology of the Baroque helped to identify features of the musical text of the Requiem mass. Keywords: Mozart, Requiem, requiem mass, vocal-symphonic work, rhetorical figures.

Death is not the end, and it holds infinitely more hopes than our life gives to us. G. Strehler

Death is the true ultimate goal of our life

A swan song. That is another title, which is Anton Leitgeb (1747-1812). He was sent to Mozart often attributed to the latest creation of Wolfgang with the order to create a requiem mass by count Amadeus Mozart – Requiem. The existence of Valzegg zu Stupp. Subsequently the aristocrat the funeral Mass, which began with an order in intended to issue a Requiem as his own essay, July 1791 under rather mysterious circumstances, written on the death of his young wife. Valzegg`s even to this day causes a storm of opinions decision to ask Mozart to write the mass was and arguments concerning the question of the not accidental. Here Mr. Abert writes about this: authenticity of the work. To date, we know the “M. Puchberg, providing financial assistance to names of the customer and the messenger in Mozart for a long time, lived in Vienna in a house gray. Mysterious messenger in a gray cloak was of Valzegg. When benevolent attitude Puchberg

© Siberian Federal University. All rights reserved * Corresponding author E-mail address: [email protected] – 498 – УДК 783.29

Once again on Mozart's Requiem (Issues of Intonation-and-Style Analysis)

Andrei Yu. Sapsuev Krasnoyarsk Academy of Music and Theatre 22 Lenina Str., Krasnoyarsk, 660049 Russia

The article considers the hypothesis of the possible endings of Wolfgang Amadeus Mozart Requiem mass. Based on the study of the epistolary heritage of the composer the author attempts to reconstruct the events of the last days of the great Viennese classics, as well as to identify the Requiem`s author attitude to death. The author gives reasons for the early end of Mozart's life, addresses the issues of philosophical understanding of the problems of death. When considering a vocal-symphonic work researchers usually apply intonation-and-stylistic analysis that allows to draw conclusions about the organic nature and thematic unity of all parts of the cycle. The usage of the musical-rhetorical vocabulary and terminology of the Baroque helped to identify features of the musical text of the Requiem mass. Key words: Mozart, Requiem, requiem mass, vocal-symphonic work, rhetorical figures.

“Death is not the end, and it holds infinitely more hopes than our life gives to us.” G. Strehler

“Death is the true ultimate goal of our life” Andrey WolfgangYu. Sapsuev. Amadeus Once again Mozart on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)

A swan song. That is another title, which is often attributed to the latest creation of Wolfgang What caused Mozart to agree to take Amadeus Mozart - Requiem. The existence of the the order and create the requiem? “The main funeral Mass, which began with an order in July 1791 under rather mysterious circumstances, even to this day reason was financial problem. According to the causes a storm of opinions and arguments concerning documentation associated with the inheritance the question of the authenticity of the work. To date, of the property of Mozart, a special commission we know the names of the customer and the messenger in gray. Mysterious messenger in a gray cloak was determined his debts in the amount of 918 florins Anton Leitgeb (1747-1812). He was sent to Mozart 16 kreuzers. This amount included the sum that with the order to create a requiem mass by count Valzegg zu Stupp. Subsequently the aristocrat intended Mozart owed to pharmacists – 204 florins 23 to issue a Requiem as his own essay, written on the kreutzers. In this case in this total amount was death of his young wife. Valzegg`s decision to ask not included at least 1,000 florins that Mozart Mozart to write the mass was not accidental. Here Mr. Abert writes about this: “M. Puchberg, providing had borrowed from Puchberg, who did not put financial assistance to Mozart for a long time, lived in forward any claims to the widow” (Abert, 1990: Vienna in a house of Valzegg. When benevolent attitude Puchberg to Mozart would not be surprising if 506-507). For Mozart's Requiem was promised a he is aware of the financial difficulties of Mozart and willing to support him, either personally or substantial sum (100 ducats), half of the amount by drawing Leitgeb`s attention to the composer or the count directly recommended him as an the composer received in advance. author right for the work. There is no documentary evidence of this, however, this assumption is to Mozart would not be surprising if he is aware The decision of creating the Requiem was of the financial difficulties of Mozart and willing influenced by another event. On May 4, 1791 1 to support him, either personally or by drawing Mozart took (as a volunteer) the position of Leitgeb`s attention to the composer or the count deputy Kapellmeister at St. Stephen's Cathedral, directly recommended him as an author right for and the chance to write a large-scale church work the work. There is no documentary evidence of was very helpful. And since Mozart was widely this, however, this assumption is justified. It can known as an opera composer, the creation of the be assumed that the name of the customer was not Mass served as a good opportunity to establish a secret for Mozart”. (Abert, 1990: 506). himself as a composer for the church. There was also another parallel chain that The reasons which led to begin the work on connected Mozart with Valzegg through Deim- Mozart's Requiem Mass today are known, but Müller and Leitgeb, who according to one about the music composition and the time of its version worked as a manager at belonging to occurrence, researchers still have not reached Valzegg plaster mills. The owner of a kind of a consensus. A large number of versions and cabinet of curiosities or a meeting of wax figures, proposals that arise around the Requiem, due to Deim-Müller was the person, for whom Mozart the lack of definitive information that can form created several pieces for the mechanical organ the basis for meaningful hypotheses, which leaves in 1790 and 1791, respectively. G. Abert points plenty of room for all kinds of fantasies and even out: “Deim was also engaged in the manufacture pseudo-scientific innuendos. of copies of classical sculptures, and for that he In particular, the German researchers needed some cast. So in this way he turned out to J. Dal`khov, G. Duda and D. Kerner argue that be related to the same Leitgeb, and through him the Requiem was written entirely before the with Valzegg. Deim, of course, was also aware of composer’s death. They assert that the basis the financial difficulties of Mozart and also could for this statement are letters from the publisher recommend Mozart as a possible author for the Andre Offenbach, and also letter from the singer requiem. This may be just a possibility, but it is Benedict Shaq. It is reported that Mozart “was justified”. (Abert, 1990: 506). told not to rush to work, and he still managed – 499 – Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) to go to Frankfurt” (on this, see Dal’khov, along with figures in parts of the Requiem, , Duda, Kerner, Moscow, 121; Sakva, 6). In this – Confutatis and Domine Jesu; in the case, the opinion of the researchers contradicts instrumentation in some places he only outlined the historical facts, the visit to Frankfurt took the basic line. The part of Lacrymosa has only place in autumn 1790, and the order to compose a total of 8 times written with the hand of the the Mass was in July 1791. In addition, if, after composer. The last three parts were not fixed: the composer’s death the version of the product , Benedictus and . It can had been complete, Constanze Mozart would be assumed that in the mind of the author the not have had to turn to other musicians with a Requiem existed from the first to the last note, request to finish the mass. but the disease, which took him in the grave, did Supporters of another version say that the not allow him to finalize his essay. Requiem was partially written by Mozart before As the entire multitude Mozart`s works his death and completed by his student – Franz show that the author’s style was characterized Xaver Zyusmayer. The researchers G. Abert, by a particular striving for coherence and A. Neumayr, C. Sakva pay great attention to consistency of the musical form as separate the letters of Constanze Mozart to the Abbe parts, and the cycle as a whole. It is embodied Maximilian Stadler (1748-1833) on May 3, in a thematic unity and fine intonation work, as 1827 and Zyusmayer, in which he informed the is exemplified by the Requiem. In this work, the publishers Breitkopf and Herter about the finished task based on the analysis of musical texts is to parts of this masterpiece. grasp the essence of the work and try to imagine The authenticity of this version was also how the composer would have completed his supported by the expertise. One of the tests took latest creation. place in Tuzone in 1987. The object of the study Notwithstanding the magnitude of the work was the type of paper with Mozart’s autograph. and the diversity of its musical material, based on As a result of examination the experts came to the Mass are relatively few thematic elements, the conclusionAnother that graphology the type expertiseof paper showedsimilar thatto afterwhich 20 Novemberare indicated 1791 in (thethe firstfirst daypart ofof histhe work – fatal illness) Mozart did not add to the Requiem a single note, in the autograph there is no theindication one that that Mozart the composer used to recordcontinue thed to work work did on theRequiem Mass being aeternam. sick. not existAs before a result 1791. of Therefore, various examinations the recordings it was foundConsider that Mozartthe intonations managed which to write make up werecompletely made after the fourthe composer`s main singing returning voices and from the bassthe parttopic. along It consists with figures of two in elements: parts of the The first Requiem, Kyrie, Dies irae - Confutatis and Domine Jesu; in the instrumentation in some places Prague,he only i.e. outlined in early the September. basic line. The(In Julypart –of August Lacrym osais has a toniconly a tototal the of funeral8 times written service, with the the theme of 1791hand Mozart of the composer.worked on The the lastopera three “La parts Clemenza were not fixed:“breath.” Sanctus, In Benedi the musicalctus and Agnus vocabulary Dei. It of the dican Tito,” be assumedwhich was that premiered in the mind on of 6 theSeptember author the of RequiemBaroque existed period from for the this first melodic to the turnlast note, entrenched but the disease, which took him in the grave, did not allow him to finalize his essay. the sameAs year the in entire Prague). multitude Mozart`s works show thethat semantics the author's of style grief, was crying, characterized otherwise by known a particularAnother striving graphology for coherence expertise and showed consistency that of asthe lamento musical. Startform movingas separate melodies parts, andwith the tonic and cycle as a whole. It is embodied in a thematic unity and fine intonation work, as is exemplified after 20 November 1791 (the first day of his fatal a return to it, even within such a short motif is by the Requiem. In this work, the task based on the analysis of musical texts is to grasp the illness)essence Mozart of the didwork not and add try to to the imagine Requiem how th a e composerseen as a wouldsign of havepredestination, completed a his predetermined latest singlecreation. note, in the autograph there is no indication outcome. The entry threads with weak interest in Notwithstanding the magnitude of the work and the diversity of its musical material, thatbased the oncomposer the Mass continued are relatively to work few on thematic the Mass elem ents,this contextwhich are and indicated acts as ain symbol the first of part inevitability of beingthe work sick. - Requiem aeternam. As aConsider result ofthe various intonations examinations which make it up was the topic. It consists of two elements: The first is a tonic to the funeral foundservice, that the Mozart theme managedof “breath.” to Inwrite the musicalcompletely vocabulary of thethe four Baroque main period singing for voices this melodic and the turn entrench part ed the semantics of grief, crying, otherwise known as lamento. Start moving melodies with tonic and a return to it, even within such a short motif is seen as a sign of predestination, a pred–etermined 500 – outcome. The entry threads with weak interest in this context and acts as a symbol of inevitability of the impending doom, and a pause gives the impression of breath. The creation of a tragic way also contributes to the association with the genre of sarabande pointed to the emphasis of the second part. In addition, an important element of the musical fabric is the instrumental section «Requiem aeternam», which performs a rhythmic figure “step”, are evident in a smooth motion with eighth length-notes in the voices of the string part of the orchestra. The picture of the procession complements the dotted rhythm that occurs in the instrumental parts (from figure 3 of the score). However, the tragic hopelessness, scheduled in the first element of the theme becomes overridden in the subsequent motif. It is a climbing to the third (tertia). V.B. Valkova considers that intonation in connection with the story of Calvary, the upward movement in the volume of third is associated with the image of the “last way of the Cross, processions apocalyptic” (Val’kova, 2000: 691). The researcher calls the move from stage I to III to be the motif of “leaving-farewell”1, that in the context of Mozart's work takes on a special significance. If you consider this element from the position of tonal vocabulary of the Baroque, you will find it similar to the rhetorical anabasis, which appeared in the works of the Baroque meaning-bearing words “heaven”, “heavenly”, “climbing”, etc. This allows you to say, that the composition of Mozart symbolizes the care of temporal life in a different world: a world of light, joy and happiness embodies the ability to break out of the vicious circle, which is the earthly life, and to find the awaited freedom outside the death. Mozart's string writing, documenting his thoughts about the death of the mother, can serve as confirmation of such a treatment of the first theme of the Requiem. Being beside her deathbed, the composer, according to his words, “imagined how she would be happy in a moment, much happier than us, and I wished that for myself at this point to get away with it” (Mozart – to his father in Salzburg, July 9, 1778, Paris ).

1 The same motif is found in the Berlioz Symphonie Fantastique (the beginning of Part IV of “The Procession to Death”), subject to the entry of the Sixth Symphony P.I. Tchaikovsky, in the introduction to the opera Hindemith “Killer - Hope of Women”, in a mourning march finale of the Fourth Symphony by Shostakovich and others. 3 Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) of the impending doom, and a pause gives the her deathbed, the composer, according to his impression of breath. The creation of a tragic words, “imagined how she would be happy in way also contributes to the association with a moment, much happier than us, and I wished the genre of sarabande pointed to the emphasis that for myself at this point to get away with it” of the second part. In addition, an important (Mozart – to his father in Salzburg, July 9, 1778, element of the musical fabric is the instrumental Paris ). section «Requiem aeternam», which performs a The two elements which form the basis of rhythmic figure “step”, are evident in a smooth the theme Requiem aeternam combined form motion with eighth length-notes in the voices of another rhetorical figure, which was formed the string part of the orchestra. The picture of the already in the works of J.S. Bach: the shape of procession complements the dotted rhythm that a cross. Presented in the works of the author of occurs in the instrumental parts (from figure 3 “Passion” in various forms, it is a symbol of the of the score). crucifixion, the Lord’s Passion. In the inverted However, the tragic hopelessness, scheduled form of this symbol means “the accomplished in the first element of the theme becomes redemption through the cross throes” (Nosina, overridden in the subsequent motif. It is a gradual 2002: 91). climbing to the third (tertia). V.B. Valkova The figure of the cross, which is scheduled considers that intonation in connection with to start Requiem aeternam, is revealed in the first the story of Calvary, the upward movementThe two elementstheme which of the form the basis Kyrie of eleison,the theme which Requiem is aeternam the combined form another rhetorical figure, which was formed already in the works of J.S. Bach: the shape of a in the volume of a minor third iscross. associated Presented intreatment the works of thethe author figure of “Passion”of a cross. in variousFor example, forms, it is a symbol of the with the image of the “last way ofcrucifixion, the Cross, the Lord'scompare Passion. the In topic the invertedKyrie eleisonform of with this symbol the theme means “the accomplished redemptionThe throughtwo elements the cross which throes” form (Nosina, the basis 2002, of the 91). theme Requiem aeternam combined form processions apocalyptic” (Val’kova,another 2000:The rhetorical691). figure offigure, thethe cross, fuguewhich which wasg-moll formedis scheduled of thealready firstto startin thevolume Requiem works of ofaeternam, “DasJ.S. Bach: is revealedthe shape in ofthe a The researcher calls the move fromfirstcross. stage theme Presented I toof the inWohltemperirter fuguethe works Kyrie of eleison,the author Clavier” which of “Passion” isby theJ.S. treatment Bach: in various of forms, the figure it is ofa symbol a cross. of Forthe example,crucifixion,1 compare the Lord's the topic Passion. Kyrie In eleison the inverted with th eform theme of of this the symbol fugue g-moll means of “the the accomplished first volume III to be the motif of “leaving-farewell”ofredemption “Das, that Wohltemperirter inthrough the the fugue cross Clavier” throes”Kyrie by eleisonJ.S. (Nosina, Bach: 2002, 91). the context of Mozart’s work takes on a special The figure of the cross, which is scheduled to start Requiem aeternam, is revealed in the first theme of the fugue Kyrie eleison, which is the treatment of the figure of a cross. For significance. example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first volume If you consider this elementof from“Dasthe Wohltemperirter thefugue Kyrie eleison Clavier” by J.S. Bach: position of tonal vocabulary of the Baroque, you will find it similar to the rhetorical anabasis, the fugue g-moll the fugue g-moll thethe fuguefugue g-mollKyrie eleison which appeared in the works of the Baroque Thus, a detailed discussion of the topic shows how complicated is its meaningful content. meaning-bearing words “heaven”, The “heavenly”, indissoluble unity of the two worlds is presented in the first bars of the works: the world of “climbing”, etc. This allows you to earthlysay, that mortalthe the fugue coil g-moll in which a person is doomed to drag out thei r miserable existence, and going to supreme bliss, which begins beyond life. A connecting link in the chain is the figure of a composition of Mozart symbolizes cross. the careThus, of a detailed discussion of the topic shows how complicated is its meaningful content. temporal life in a different world: The a world indissolubleExplanation of unity of theofThus, themain two atheme wo detailedrlds from is presented the discussion perspective in the of offirst musical the ba rs topic of rhetoric the works: is quite the worldnatural, of sinceearthly the mortal subject, coil whichin which opens a pe therson Requiem, is doomed Mozart to drag borrowed out their frommiserable the baroqueexistence, vocabulary. and going light, joy and happiness embodiesProof to the supreme of ability this bliss, are shows the which spiritual begins how works beyond complicated of life. J.S. A Bach connecting is and its G.F. link meaningful Handel, in the which chain isuse the the figure common of a to break out of the vicious circle, whichProtestantcross. is choralethe melody.content. The indissoluble unity of the two worlds Here areExplanation some examples. of the main theme from the perspective of musical rhetoric is quite natural, earthly life, and to find the awaitedChoralesince freedom the “Herr subject, Jesu is which Christ, presented opens du höchtes the in Requiem, the Gut” first (“theMozart bars Lord ofborrowed the Jesus works: Christ,from the You baroque are the vocabulary. supreme outside the death. good”):Proof of this are world the spiritual of earthly works mortal of J.S. Bachcoil in and which G.F. Handel, a person which use the common Protestant chorale melody. Mozart’s string writing, documentingHere are some his examples.is doomed to drag out their miserable existence, Chorale “Herr Jesu Christ, du höchtes Gut” (“the Lord Jesus Christ, You are the supreme thoughts about the death of the mother, can and going to supreme bliss, which begins beyond good”): serve as confirmation of such a G.F. treatment Handel, the of beginninglife. A connecting of the opening link chorus in theof “Funeral chain isAnthem”: the figure the first theme of the Requiem. Being beside of a cross.

– 501 – G.F. Handel, the beginning of the opening chorus of “Funeral Anthem”:

4

4 The two elements which form the basis of the theme Requiem aeternam combined form another rhetorical figure, which was formed already in the works of J.S. Bach: the shape of a cross. Presented in the works of the author of “Passion” in various forms, it is a symbol of the crucifixion, the Lord's Passion. In the inverted form of this symbol means “the accomplished redemption through the cross throes” (Nosina, 2002, 91). TheThe twofigure elements of the whichcross, formwhich the is basis scheduled of the totheme start Requiem Requiem aeternam aeternam, combined is revealed form in the another rhetorical figure, which was formed already in the works of J.S. Bach: the shape of a first theme of the fugue Kyrie eleison, which is the treatment of the figure of a cross. For cross. Presented in the works of the author of “Passion” in various forms, it is a symbol of the crucifixion,example, compare the Lord's the Passion.topic Kyrie In theeleison inverted with form the theme of this of symbol the fugue means g-moll “the of accomplished the first volume of “Das Wohltemperirter Clavier” by J.S. Bach: redemptionThe two through elements the which cross formthroes” the basis(Nosina, of the 2002, theme 91). Requiem aeternam combined form another rhetoricalThe figure figure, of the which cross, was which formed is alrscheduledeady in the to worksstart Requiem of J.S. Bach: aeternam, the shape is revealedof a in the cross.first themePresented of in the the fugue works Kyrieof the authoreleison, of which“Passion” is in the various treatment forms, of it is the a symbol figure of of the a cross. For crucifixion, the Lord's Passion. In the inverted form of this symbol means “the accomplished example, compareAndrey the Yu. topic Sapsuev. Kyrie Once eleison again withon Mozart’s the theme Requiem of the (Issues fugue of g-moll Intonation-and-Style of the first volume Analysis) redemptionof “Das theWohltemperirter through fugue theKyrie cross eleisonClavier” throes” (Nosina, by J.S. Bach:2002, 91). The figure of the cross, which is scheduled to start Requiem aeternam, is revealed in the first themeExplanation of the fugue of Kyriethe maineleison, theme which isfrom the treatment the of thePossibly, figure of a Mozart`s cross. For appeal to the well- example, compare the topic Kyrie eleison with the theme of the fugue g-moll of the first volume perspectiveof “Das Wohltemperirterthe fugue of musical g-moll Clavier” rhetoric by J.S. is Bach: quite natural, known theme of choral served to Dal`khov, the fugue Kyrie eleison since the subject, which opens the Requiem, Kerner and Duda a reason to assume that Mozart Thus,borrowed a detailed from discussion the baroque of th vocabulary.e topic shows howthe complicated work was is createdits meaningful entirely content. before the The indissolublethe fugue Kyrie unity eleison of the two worlds is presented in the first bars of the works: the world of Proofearthly of themortal this fugue are coil g-moll the in spiritualwhich a peworksrson isof doomed J.S. Bach to dragcomposer’s out their miserable death. However, existence, even and goingthe fact of the andto supreme G.F. Handel, bliss, which which use begins the common beyond Protestant life. A connecting use of link common in the tunes chain isby thethe figure Requiem`s of a author Thus, a detailed discussion of the topic shows how complicated is its meaningful content. cross. the fugue g-moll choraleThe indissoluble melody. unity of the two worlds is presented in theis first no proofbars of ofthe suchworks: a the release. world of For, according Explanation of the main theme from the perspective of musical rhetoric is quite natural, earthly mortal coil in which a person is doomed to drag out their miserable existence, and going sinceHere theThus, subject,are a detailed some which discussionexamples. opens of th thee topic Requiem, shows how Mozart complicated to borrowed B.V. is its Asafiev,meaningful from the content. “Mozart baroque vocabulary. did not create new Theto supreme indissoluble bliss, unity which of the beginstwo wo beyondrlds is presented life. A inconnecting the first ba rs link of the in works: the ch theain world is the of figure of a earthlycross.ProofChorale mortal of this coil “Herr are in which the Jesu spiritual a peChrist,rson is works doomeddu höchtes of to J.S. drag Gut” Bachout thei andr worldsmiserable G.F. – Handel,existence, he created whichand going a use new the system common of proof.” Protestant chorale melody. (“theto supreme LordExplanation bliss, Jesus which of Christ, beginsthe main beyondYou theme are life. from the A connecting supremethe perspective link And, in theof musicalbased chain is on therhetoric the figure last-known is of quite a natural, works in the 17th cross.sinceHere are the some subject, examples. which opens the Requiem, Mozart borrowed from the baroque vocabulary. good”):ProofChorale Explanation of “Herrthis are Jesu of the the Christ,spiritual main theme du works höchtesfrom of the J.S. perspective Gut” Bach (“the and of musical Lordcentury G.F. Handel,Jesus rhetoric hymns, Christ, is which quite he Younatural, usecreated the are common thehis supremeown authorship, sincegood”): the subject, which opens the Requiem, Mozart borrowed from the baroque vocabulary. ProofProtestant of this chorale are the melody. spiritual works of J.S. Bach and G.F. Handel, which use the common ProtestantHere are somechorale examples. melody. Chorale “Herr Jesu Christ, du höchtes Gut” (“the Lord Jesus Christ, You are the supreme Here are some examples. In the text of hymns used by Bach, Handel and Mozart human turns to God for mercy and Choralegood”): “Herr Jesu Christ, du höchtes Gut” (“the Lord Jesus Christ, You are the supreme salvation of the soul after death. The same meaning is contained in the words of the chorale good”): “Meine Seel erhebt den Herren” (“My soul ascends to God”), the melody which is used in the G.F. G.F.Handel, Handel, the beginning the beginning of themiddle opening of thesection openingchorus of “Requiem of “Funeralin aeternam”: which Anthem”: traditional themes and intonations

chorus of “Funeral Anthem”: In the text of hymns usedfound by Bach, a very Handel special and Mozart meaning. human turnsIn order to God to for prove mercy and G.F. Handel, the beginning of the opening chorus of “Funeral Anthem”: G.F. Handel, the beginning of the openingsalvation chorus of of the “Funeral soul after Anthem”: the death. stylistic The same unity meaning of is contained the Requiem, in the words we of trace the chorale In“Meine the text Seel of erhebt hymns den used Herren” by Bach,(“My soul Handel ascends and to Mozart God”), human the melody turns which to God is used for mercyin the and salvationmiddle Possibly,section of the of soul“RequiemMozart`s afterthe aeternam”: death.appeal emergence Theto the same well-known meanof theing topic isth eme contained andof choral its in themembers served words to ofDal`khov, in the chorale Kerner and Duda a reason to assume that the work was created entirely before the composer's death. “Meine Seel erhebt den Herren”other (“Myparts soul of theascends cycle. to God”), the melody which is used in the However,middle section even of the “Requiem fact of the aeternam”: use of common tunes by the Requiem`s author is no proof of such a release. For, according to B.V. Asafiev, “Mozart did not create new worlds - he created a new The simple visual uses of the initial system of proof.” And, based on the last-known works in the 17th century hymns, he created his Possibly, Mozart`s appealintonations to the well-known of the Requiem theme of choral in its served original to Dal`khov, form Kerner ownand Dudaauthorship, a reason in towhich assume traditional that the work themes was acreatednd intonations entirely beforefound the a verycomposer's special death. meaning. In order However, to prove even thethe fact stylistic of thecan unityuse be of foundofcommon the Requiemin tunes the by following, thewe Requiem`s trace theparts: authoremergence is no proof of the of topicsuch and its membersa release.Possibly, inFor, other according Mozart`s parts ofto appealtheB.V. cycle. Asafiev, to the well-known“Mozart did thnoteme create of choralnew worlds served - heto createdDal`khov, a new Kerner andsystem Duda Theof proof.”a simplereason And, visualto assumebased uses on that ofthe№1 the last-knownthe Requiem initial work intonationswa works aeternams created in the of entirely17 theth centuryRequiem before hymns, inthe its composer'she original created formhis death. can be foundHowever,own authorship, in the even following the in factwhich parts:of traditionalthe use of themescommon and tunes intonations by the Requiem`sfound a very author special is nomeaning. proof ofIn such aorder release. to prove For, accordingthe stylistic to unityB.V. ofAsafiev, the Requiem “Mozar, wet did trace not thecreate emergence new worlds of the - hetopic created and its a new №1 Requiem aeternam th systemmembers of inproof.” other partsAnd, of based the cycle. on the last-known works in the 17 century hymns, he created his own authorship,№The2 Diessimple iraein visual which uses traditional of the initial themes intonations and intonations of the Requiem found in a its very original special form meaning. can be In orderfound toin provethe following the stylistic parts: unity of the Requiem, we trace the emergence of the topic and its

members№ in1 Requiem other parts aeternam of the cycle. №2 Dies irae The simple visual uses of the initial intonations of the Requiem in its original form can be found in№№ the32 DiesDomine following irae Jesu parts:

№1 Requiem aeternam 4 4 №3 Domine Jesu №2 Dies irae 4

In the text of hymns usedMore by complex Bach, thematic№3 modifications Domine Jesuare much more common. For example, the use of

treatment№ 3 asDomine a “primary Jesu intonation impetus” for countersubject in the middle section of Handel and Mozart human turns to God for “Requiem aeternam”, in “Tuba mirum”: mercy and salvation of the soul afterMore complexdeath. thematic modifications are much more common. For example, the use of treatment as a “primary intonation impetus” for countersubject in the middle section of The same meaning is contained“Requiem in the aeternam”, words in “Tuba mirum”: of the chorale “Meine Seel erhebt denMore Herren” complex thematic modificationsMore complex are mu thematicch more common. modifications For example, are the use of

(“My soul ascends to God”), thetreatment melody as which a “primary much intonation more impetus” common. for countersubject For example, in the middle use of section of In the text of hymns used by “Requiem Bach, The Handel aeternam”, backward and in movement Mozart “Tuba mirum”: human of the theme turns is to found God in for “Rex mercy tremendae” and , “Domine Jesu”: issalvation used in of the the soul middle after section death. The of “Requiem same mean ingtreatment is contained as a in “primary the words intonation of the chorale impetus” for The backward movement of the theme is found in “Rex tremendae”, “Domine Jesu”: aeternam”:“Meine Seel erhebt den Herren” (“My soul ascends to God”), the melody which is used in the middle section of “Requiem aeternam”:

The backward movement of the theme is found in “Rex tremendae”, “Domine Jesu”: Intonations of the theme are often accentuated in Cadenza elements. According to the rhetoricalIntonations music dictionary, of the theme this are turnover often accentuated is called symploce in Cadenza (com elements.plexio). According For more to unity the of the melodicrhetorical construction, music dictionary, it is thisperfor turnovermed atis calledthe beginning symploce and(com repeatedplexio). For at morethe end. unity It ofis thesignificant Possibly, Mozart`s appealthatmelodic to these the construction, revolutionswell-known– it502are is th presentperfor–eme medof only choral at thein the beginning served parts createdto and Dal`khov, repeated by Mozart: at Kerner the end. It is significant that these revolutions are present only in the parts created by Mozart: and Duda a reason to assume that the work was created entirely before the composer's death. However, even the fact of the use of commonIntonations tunes of the by theme the Requiem`s are often accentuated author is inno Cadenza proof of elements. such According to the rhetorical music dictionary, this turnover is called symploce (complexio). For more unity of the a release. For, according to B.V. Asafiev,Recordare “Mozar t did not create new worlds - he created a new system of proof.” And, based onmelodic the last-knownRecordare construction, works it is perfor in themed 17 atth centurythe beginning hymns, and herepeated created at thehis end. It is significant own authorship, in which traditionalthat these themes revolutions and areintonations present only found in the aparts very created special by Mozart: meaning. In order to prove the stylistic unity of the Requiem, we trace the emergence of the topic and its members in other parts of the cycle. 5 5 The simple visual uses of the initialRecordare intonations of the Requiem in its original form can be found in the following parts: №1 Requiem aeternam 5 №2 Dies irae

№3 Domine Jesu

More complex thematic modifications are much more common. For example, the use of treatment as a “primary intonation impetus” for countersubject in the middle section of “Requiem aeternam”, in “Tuba mirum”:

The backward movement of the theme is found in “Rex tremendae”, “Domine Jesu”:

Intonations of the theme are often accentuated in Cadenza elements. According to the rhetorical music dictionary, this turnover is called symploce (complexio). For more unity of the melodic construction, it is performed at the beginning and repeated at the end. It is significant that these revolutions are present only in the parts created by Mozart:

Recordare

5

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In order to prove the stylistic unity of the Requiemfound, we in thetrace following the emergence parts: of the topic and its members№2 Diesin other irae parts of the cycle. №3№ Domine1 Requiem Jesu aeternam The simple visual uses of the initial intonations of the Requiem in its original form can be №2 Dies irae found in the following parts: №3 Domine Jesu Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) №1 Requiem aeternamPossibly, Mozart`s appeal to the well-known theme of choral served to Dal`khov, Kerner

and Duda a reason to assume that the work was created entirely before the composer's death. More№ 3complex Domine thematicJesu modifications are much more common. For example, the use of №2 Dies However,irae even the fact ofcountersubject the use of common in the t unesmiddle by sectionthe Requiem`sConfutatis of “Requiem author is nointo proof the of melodic such movement and are subject to treatment as a “primary intonation impetus” for countersubject in the middle section of a release. For, according to B.V. Asafiev, “Mozart did not create new worlds - he created a new aeternam”,“Requiem aeternam”,in “Tuba mirum”: in “Tuba mirum”: reconsideration. Thus, in the fifth part of the system of proof.” And, based on the last-known works in the 17th century hymns, he created his More complex thematic modifications are mu ch more common. For example, the use of №3 Domineown Jesu authorship, in which traditional themes and intonations found a very specialcycle meaning. in the introductionIn we find the theme of treatment as a “primary intonation impetus” for countersubject in the middleDomine sectionJesu of order to prove the stylistic unity of the Requiem, we trace the emergence of the“breath” topic and theits upward movement in the hidden “Requiem aeternam”, in “Tuba mirum”: More complex thematic modifications are much more common. For example, the use of members in other parts of the cycle. Often individual elements of the theme, which have independent significance, are woven treatment as a “primary intonation impetus” fortwo-voices. countersubject in the middle section of The simple visual uses“Requiem of the initial aeternam”, intonations ininto “Tubaof thethe melodicmirum”:Requiem movement in its original and are form subject can tobe reconsideration. Thus, in the fifth part of the cycle found in the following parts: in the introduction we find the themeRecordare of “breath” and the upward movement in the hidden two- The backward movement of the themeConfutatis is found in “ Rex tremendae” , “Domine Jesu”: More complex thematic№1 Requiem modifications aeternam are much more common.voices. For example, the use of treatment as a “primary intonation impetus” for countersubject in the middle section of

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that these revolutions are presentmotif is only pleashighlighted: ofin desperation the parts and fear, determination and greatness: Intonations of the theme are often accentuated in Cadenza Recordareelements.TheDies motif irae According of “breath” to th roughout the the development of the melody is transformed, created by Mozart: acquiring various emotional5 shades. In some cases, it serves as an expression of grief, weeping rhetorical music dictionary, this turnover is called symploce (complexio). Confutatis For more unity of the pleasTuba of desperationmirum and fear, determination and greatness: melodic construction, it is perforRecordaremed at the beginning and Requiemrepeated The at the motif end. ofIt is “breath” significant throughout the development of the melody is transformed, that these revolutions are present only in the parts created by Mozart:acquiring variousRexDies tremendae irae emotional Dies shades. irae In some cases, it serves as an expression of grief, weeping pleas of Tubadesperation mirum and fear, determination and greatness: Dies iraeConfutatis In other cases, it is associated with desce nding melodic turns, in which the rhythmic motif is highlighted: Rex tremendae Recordare Dies irae

TubaConfutatis mirum Tuba mirum In other cases, it is associated with descending melodic turns, in which the rhythmic Confutatis motif Requiemis highlighted: Rex tremendae As theseRex examplestremendaeDies irae demonstrate, in the slow movements, thanks to plaintive intonations,

increased expression of grief, and it is fast achievi5 ng greater drama and pathos. In otherConfutatis Requiem cases, it is associated with descending melodic turns, in which the rhythmic Itmotif is is necessary highlighted:Dies toirae allocate another thematic element, adjacent to the main. It is a movement by the sound of the chord. For the first time the item is scheduled in the first part of Rex tremendae Confutatis the cycle, and appearsDies in its irae crystallized form at the beginning of the Third Part “Tuba mirum”: RequiemDies Tuba irae mirum In other cases, it is associated with descending melodic turns, in which the rhythmic Domine Jesu In other cases, it is associated with 6 motif is highlighted:As these examples demonstrate, in the slow movements, thanks to plaintive intonations, Confutatis Dies irae Tuba mirum Domine Jesu increased expressiondescending of grief, and melodic it is fast turns, achievi inng which greater the drama rhythmic and pathos. RexIt tremendaeAs is these necessary examples to demonstrate, allocate another in the slow thematic movements, element, thanks adjacent to plaintive to theintonations, main. It is a Requiem motif is highlighted: movementTubaincreased mirum expression by the sound of grie of f,the and chord. it is fast For achievi the firstng greater time dramathe item and is pathos. scheduled in the first part of Often individual elements of the theme, which have independent significance, are woven the cycle,In otherIt and is cases,necessaryappears itinRequiem to isits allocate associatedcrystallized another withform thematic at desce the beginning element,nding melodic adjacent of the Third toturns, the Part main. in “Tuba which It ismirum”: athe rhythmic into the melodic movement and are subject to reconsideration. Thus,Asmovement thesein the examples fifthby the partdemonstrate, sound of ofthe the incycle chord.the slow For movements, the first tim thankse the to item plaintive is scheduled intonations, in the first part of Domine Jesu motif is highlighted: in the introduction we find the theme of “breath” and the upwardincreased movementthe expressionDies cycle, irae and of ingrieappears thef, and hidden in it itsis fastcrystallized two-achievi ng form greater at dramathe beginning and pathos. of the Third Part “Tuba mirum”: 6 It is necessary to allocate another thematic element, adjacent to the main. It is a voices. Often individual elementsOften of individual the theme, elementswhich have movement of independent the by theme, the sound significance, of the chord. areFor thewoven first tim e the item is scheduled in the first part of 6 into the melodic movement and are subject to reconsideration.the cycle, Thus, and appears in the in fifth its crystallized part of formthe cycleat the beginning of the Third Part “Tuba mirum”: which have independent significance, areRequiemTuba woven mirum in the introduction we find the theme of “breath” and the upward movement in the hidden two- 6 voices. As these– 503examples – demonstrate, in the slow movements, thanks to plaintive intonations, Recordare increased expression of grief, and it is fast achieving greater drama and pathos. DiesIt is irae necessary to allocate another thematic element, adjacent to the main. It is a movement by the sound of the chord. For the first time the item is scheduled in the first part of The motif of “breath” throughout the development the of cycle, the and melody appears is in transformed,its crystallized form at the beginning of the Third Part “Tuba mirum”: acquiring variousRecordare emotional shades. In some cases, it serves as an expression of grief, weeping pleas of desperation and fear, determination and greatness: Tuba mirum 6 The motif of “breath” throughout the development of the melody is transformed, acquiring various emotional shades. In some cases, it serves as anAs expre thesession examples of grief, demonstrate, weeping in the slow movements, thanks to plaintive intonations, pleasTuba of desperation mirum and fear, determination and greatness: increased expression of grief, and it is fast achieving greater drama and pathos. It is necessary to allocate another thematic element, adjacent to the main. It is a movement by the sound of the chord. For the first time the item is scheduled in the first part of the cycle, and appears in its crystallized form at the beginning of the Third Part “Tuba mirum”: Tuba mirum Confutatis 6

DiesConfutatis irae

Dies irae Rex tremendae

In other cases, it is associated with descending melodic turns, in which the rhythmic motif is highlighted:Rex tremendae

In other cases, it is associated with descending melodic turns, in which the rhythmic motifRequiem is highlighted:

DiesRequiem irae

TubaDies mirum irae

As these examples demonstrate, in the slow movements, thanks to plaintive intonations, increased expressionTuba mirum of grief, and it is fast achieving greater drama and pathos. It is necessary to allocate another thematic element, adjacent to the main. It is a movementAs by thesethe sound examples of the demonstrate, chord. For thein thefirst slow time movements, the item is scheduledthanks to plaintivein the first intonations, part of theincreased cycle, and expression appears in of its grie crystallizedf, and it is form fast achieviat the beginningng greater of drama the Third and pathos.Part “Tuba mirum”: It is necessary to allocate another thematic element, adjacent to the main. It is a movement by the sound of the chord. For the first time the item is scheduled in the first part6 of the cycle, and appears in its crystallized form at the beginning of the Third Part “Tuba mirum”:

6 Confutatis

Domine Jesu

Often individual elements of the theme, which have independent significance, are woven into the melodic movement and are subject to reconsideration. Thus, in the fifth part of the cycle in the introduction we find the theme of “breath” and the upward movement in the hidden two- voices.

Confutatis Recordare

TheDomine motif Jesu of “breath” throughout the development of the melody is transformed, acquiring various emotional shades. In some cases, it serves as an expression of grief, weeping Often individual elements of the theme, which have independent significance, are woven pleasinto of the desperation melodic movement and fear,and are determination subject to reconsideration. and greatness: Thus, in the fifth part of the cycle in the introduction we find the theme of “breath” and the upward movement in the hidden two- voices. Tuba mirum

Recordare

ConfutatisThe motif of “breath” throughout the development of the melody is transformed, acquiring various emotional shades. In some cases, it serves as an expression of grief, weeping pleas of desperation and fear, determination and greatness: Dies irae Tuba mirum Requiem aeternam

Tuba mirum Rex tremendae Confutatis RequiemLike aeternam the tune of “breath” in the process of development, it takes a variety of emotional In other cases, it is associated with descendingtones: melodic swift, melodious, turns, soulful: in which the rhythmic Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) motif is highlighted:Dies irae Tuba mirumDies irae Requiem aeternam Dies irae Domine Jesu Rex tremendae Like the tune of “breath” in the process of development, it takes a variety of emotional Rex remendae Requiem tones: swift, melodious, soulful: In other cases, it is associated with descending melodicTuba turns, mirum in which the rhythmic motif is highlighted: Requiem aeternam Domine Jesu Dies irae DiesLike iraethe tune of “breath” in the process of development, it takes a variety of emotional tones: swift, melodious,The organic nature soulful: and unity of the musical material also is reflected in the germination Requiem ofTuba the cross mirum theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: Tuba mirum The organic nature and unity of the musical Rex remendae Tuba mirum LikeRecordare the tune of “breath” in the process of development, it takes a variety of emotional Dies irae material also is reflected in the germination of tones:Dies swift, irae melodious, soulful: As these examples demonstrate, in the slow movements, thanks to theplaintive cross themeintonations, that is found in the “Recordare”, Lacrymosa increasedTuba expression mirum of grief, and it is fast achieving greaterDomine drama Jesu and pathos. Rex remendae Requiem“Lacrymosa”, aeternam “Domine Jesu”: It is necessary to allocate another thematic element,Dies irae adjacent to the main. It is a movementAs bythese the examples sound demonstrate,of the chord. in the For slow the movements, first timThe ethanks the organic item Domineto plaintive is natureJesu scheduled intonations, and unity inRecordare the of firstthe musicalpart of material also is reflected in the germination theincreased cycle, and expression appears of grie in f,itsAs and crystallizedthese it is fast examples achievi formng greaterdemonstrate,atof the the dramabeginning cross and theme inpathos. ofthe thethat slow Third is found Part in “Tuba the “Recordare”, mirum”: “Lacrymosa”, “Domine Jesu”: It is necessary to allocate another thematic element, adjacent “Lacrymosa” to the main. is of ItTuba particular is amirum interest in the light of the topic of our work. As is well DomineRex remendae Jesu movement by the soundmovements, of the chord. For thanks the first totim e plaintivethe item knownis scheduled intonations, Mozart inmanaged the first to partrecord of only 8 primary bars 6of the score. the cycle, and appears in its crystallized form at the beginning ofRecordare the ThirdNow Part we “Tuba shall consider mirum”:Like intona thetion tune features of “breath” of the theme. in the process of development, it takes a variety of emotional increased expression of grief, and it is fasttones: swift, melodious, soulful: The organic nature and unity6 of the musical material also is reflected in the germination achieving greater drama andof the pathos. cross theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: Domine Jesu It is necessary to allocate another The thematic triad intonation a1-f2-d2Lacrymosa is fused with the motive of “breath” d2-cis2, so that the Lacrymosasixth is perceived as a recapitulationDies irae to it, and the last sound of the triad intonation d2 highlights element, adjacent to the main. ItRecordare andisThe exacerbatesa movement organic the nature expressi venessand unity of the finalof the motif. musical material also is reflected in the germination of the cross Intheme “Lacrymosa” that is you found can also in findthe the“Recordare”, first topic of “Requiem “Lacrymosa”, aeternam”, “Domine which appears Jesu”: by the sound of the chord. For theDomineon firstthe verge Jesu time of 4 andthe 5 bars in the . Here it is dispersed between two different motives. But if we ignore the caesuraRex and remendae the difference in the registers and connect the tune of “breath”

item is scheduled in the first part LacrymosawithofRecordare the the beginningcycle, and of the subsequent huge and extremely busy upward movement, it is clear that “Lacrymosa”Mozart put the Requiem is of initialparticular tone as interestthe basis of in “Lacrymosa”. the light of the topic of our work. As is well appears in its crystallizedknown form atMozart the beginning managed to record only 8 primary bars of the score. of the Third Part “Tuba mirum”: Now we shall considerDomine intonaDomine tionJesu features Jesu of the theme. Domine Jesu Requiem aeternam LacrymosaThis part, therefore, is the culmination of the cycle, which emphasizes the connection to its main motive meaning-bearingThe organic works. Perhaps nature that and is whyunity “Lacrymosa” of the musical is often performedmaterial asalso is reflected in the germination a“Lacrymosa” separate concertof number,is the of cross particularspeaki themeng a kind thatinterest of masteris found in image th ine represthe light “Recordare”,entation of the of the topic Requiem “Lacrymosa”, of our Mass: work. “Domine As is wellJesu”: known Mozartmourning managed a man who to diedrecord and only the request 8 primary to grant bars him of peace. the score. After 8 cycles Mozart`s TheDomine triad intonationJesu a1-f2-d2 is fused with the motive of “breath” d2-cis2, so that the sixth is Nowperceived we shall as a considerrecapitulationRecordare intona totion it, and features the last of soundthe theme. of the triad intonation7 d2 highlights Requiem aeternam and exacerbates “Lacrymosa” the expressi is ofveness particular of the finalinterest motif. in the light of the topic of our work. As is well knownIn Mozart“Lacrymosa” managed you to can record also“Lacrymosa” onlyfind the8 primary first is topic of bars particular of of “Requiem the score. interest aeternam”, in the which appears Tuba mirum on the vergeNow of we4 and shall 5 barsconsider Lacrymosalightin the intonaof soprano. the tion topic Herefeatures of itour is of dispersedwork. the theme. As between is well twoknown different motives. Tuba mirum But if weThe ignore triad the intonation caesura and a1-f2-d2 the difference is fused in with the registers the motive and of connect “breath” the d2-cis2,tune of “breath” so that the Requiem aeternam withsixth the is perceivedbeginning as of athe recapitulation subsequentMozart hugemanaged to it, and and ex thetotremely recordlast sound busy only upwardof 8 the primary triad movement, intonation bars it is d2clear highlights that Like the tune of “breath” in the process of development,Mozartand exacerbates put the it Requiem takes the expressi a varietyinitialDomineofveness tone theof emotionalscore.as ofJesu the the basis final of motif. “Lacrymosa”. tones: swift, melodious, soulful: Tuba mirum InThe “Lacrymosa” triad intonation you can a1-f2-d2 Nowalso findwe is shallthe fused first consider with topic th eintonationof motive “Requiem of features “breath” aeternam”, of d2-cis2, which so appears that the “Lacrymosa” is of particular interest in the light of the topic of our work. As is well on the verge of 4 and 5 bars in the soprano. Here it is dispersed between two different motives. sixth is perceived asknown a recapitulation Mozartthe theme. managed to it, toand record the last only sound 8 primary of the bars triad of theintonation score. d2 highlights Like the tune of “breath” in the process of development,But if we ignore it takes the caesuraa variety and of theemotional difference in the registers and connect the tune of “breath” DiesRequiem irae aeternam and exacerbatesThis part, therefore, the expressi isNow theveness weculmination shall of the consider final of the motif. intona cycle, tion whic featuresh emphasizes of the theme. the connection to tones: swift, melodious, soulful:Like the tune of “breath”with the inbeginningIn the“Lacrymosa” process of the subsequentyou can also huge find and the ex firsttremely topic busy of “Requiem upward movement, aeternam”, it which is clear appears that itsMozart main putmotive the Requiemmeaning-bearing initial tone works. as the Perhaps basis thatof “Lacrymosa”. is why “Lacrymosa” is often performed as of development, it takes a separateon variety the verge concert of emotional of number,4 and 5 speakibars inng the a kind soprano. of master Here image it is dispersedrepresentation between of the two Requiem different Mass: motives. Tuba mirum Rex remendae tones: swift, melodious, soulful:mourningBut if we a ignore man whothe caesura died and and the the request difference to grantin the him registers peace. and After connect 8 cycles the tune Mozart`s of “breath” Dies irae Requiem aeternam with the beginning of the Thesubsequent triad intonation huge and a1-f2-d2 extremely is fusedbusy upward with the movement, motive of “breath”it is clear d2-cis2, that so that the Like the tune of “breath”Dies inirae the process of development,Mozart put the it Requiemtakes a variety initial toneof emotional as the basis of “Lacrymosa”. This part, therefore,sixth is perceivedis the culmination as a recapitulation of the cycle, to it, whicand theh emphasizes last sound ofthe the connection triad intonation7 to d2 highlights tones: swift, melodious, soulful: and exacerbatesThe the triad expressi intonationveness of a the1-f2 final-d2 ismotif. fused with TubaDomine mirum Jesu its main motive meaning-bearing works. Perhaps that is why “Lacrymosa” is often performed as Rex remendae In “Lacrymosa” you can also2 find2 the first topic of “Requiem aeternam”, which appears a separate concert number, speakithe motiveng a kind of “breath”of master dimage-cis ,repres so thatentation the sixth of the Requiem Mass: The organic nature and unity of the musical materialmourning also a manis reflected whoon the diedin verge the and germination of the4 and request 5 bars toin thegrant soprano. him peace.Here it is After dispersed 8 cycles between Mozart`s two different motives. Like Diesthe tuneirae of “breath” in the process of development,This it takes part, a therefore, Butvariety if we isof isperceivedignore emotional the culminationthe caesuraas a recapitulation andof the the cycle,difference to whic it, inandh theemphasizes the registers last andthe connectionconnect the totune of “breath” of the cross theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: tones: swift, melodious, soulful: its main motive meaning-bearingwith the beginning works. of the Perhaps subsequent that ishuge why and2 “Lacrymosa” extremely busy is often upward performed movement, as it is clear that Domine Jesu sound of the triad intonation d highlights and 7 a separate concert number,Mozart put speaki the Requiemng a kind initial of master tone asimage the basis repres ofentation “Lacrymosa”. of the Requiem Mass: Rex remendae exacerbates the expressiveness of the final motif. RecordareRex remendae mourning a man who died and the request to grant him peace. After 8 cycles Mozart`s DiesThe irae organic nature and unity of the musical material also is reflected in the germination of the cross theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: In “Lacrymosa” you can also find the first topic of “Requiem aeternam”, which appears on 7 This part, therefore, is the culmination of the cycle, which emphasizes the connection to Domine Jesu RexRecordareLacrymosa remendae its main the motive verge meaning-bearing of 4 and 5 bars works. in Perhaps the soprano. that is Herewhy “Lacrymosa” is often performed as

a separate concert number, speaking a kind of master image representation of the Requiem Mass: – 504 – The organic nature and unity of the musical material also is reflectedmourning in the a mangermination who died and the request to grant him peace. After 8 cycles Mozart`s of theDomine cross theme Jesu that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”: DomineLacrymosa Jesu 7

“Lacrymosa”Recordare is of particular interest in the light of the topic of our work. As is well knownThe Mozart organic managed nature andto record unity onlyof the 8 primarymusical barsmaterial of the also score. is reflected in the germination of the crossDomineNow theme we Jesu thatshall is consider found in intona the “Recordare”,tion features “Lacrymosa”, of the theme. “Domine Jesu”:

Recordare “Lacrymosa”Lacrymosa is of particular interest in the light of the topic of our work. As is well known Mozart managed to record only 8 primary bars of the score. Now we shall consider intonation features of the theme. The triad intonation a1-f2-d2 is fused with the motive of “breath” d2-cis2, so that the Domine Jesu sixth is perceived as a recapitulation to it, and the last sound of the triad intonation d2 highlights Lacrymosa and exacerbates the expressiveness of the final motif. “Lacrymosa” is of particular interest in the light of the topic of our work. As is well In “Lacrymosa” you can also find the first topic of “Requiem aeternam”, which appears known Mozart managed to record only 8 primary bars of the score. on the vergeThe triad of 4 intonationand 5 bars a1-f2-d2in the soprano. is fused Here with it thise dispersed motive of between “breath” two d2-cis2, different so motives. that the sixth Domineis perceivedNow Jesu we as shall a recapitulation consider intona to tionit, and features the last of soundthe theme. of the triad intonation d2 highlights But if we ignore the caesura and the difference in the registers and connect the tune of “breath” andwith exacerbates the beginning the ofexpressi the subsequentveness of hugethe final and motif. extremely busy upward movement, it is clear that “Lacrymosa”In “Lacrymosa” is of you particular can also interest find the in firstthe topic light of “Requiem the topic ofaeternam”, our work. which As is appears well knownMozart Mozart put the managed Requiem to recordinitial toneonly as8 primarythe basis bars of “Lacrymosa”. of the score. on the verge of 4 and 5 bars in the soprano. Here it is dispersed between two different motives. But ifNow we The ignorewe shall triad the consider intonationcaesura intona and a1-f2-d2 thetion difference features is fused ofin with thethe theme.registers the motive and of connect “breath” the d2-cis2, tune of so“breath” that the withsixth the is beginning perceived of as the a recapitulation subsequent huge to it, and and ex thetremely last sound busy upwardof the triad movement, intonation it is d2 clear highlights that

Mozartand exacerbates putThis the part, Requiem therefore,the expressi initial is veness thetone culmination as of the the basis final of of motif. the“Lacrymosa”. cycle, whic h emphasizes the connection to its main motiveIn “Lacrymosa” meaning-bearing you can works. also find Perhaps the first that topic is why of “Lacrymosa”“Requiem aeternam”, is often performedwhich appears as The triad intonation a1-f2-d2 is fused with the motive of “breath” d2-cis2, so that the a separateon the verge concert of 4number, and 5 bars speaki in ngthe a soprano.kind of master Here it image is dispersed representation between of two the differentRequiem motives.Mass: sixth is perceived as a recapitulation to it, and the last sound of the triad intonation d2 highlights mourningBut if we a ignore man whothe caesura died andand thethe difference request to in grant the registers him peace. and connect After 8 the cycles tune of Mozart`s “breath” and exacerbateswith Thisthe beginning part, the expressitherefore, of theveness issubsequent the of culmination the finalhuge motif. and of exthe tremely cycle, busywhic hupward emphasizes movement, the connection it is clear tothat In “Lacrymosa” you can also find the first topic of “Requiem aeternam”, which appears its Mozartmain motive put the meaning-bearing Requiem initial toneworks. as thePerhaps basis that of “Lacrymosa”. is why “Lacrymosa” is often performed as7 ona the separate verge concertof 4 and number, 5 bars inspeaki the ngsoprano. a kind Hereof master it is dispersedimage repres betweenentation two of different the Requiem motives. Mass: Butmourning if we ignore a man the caesura who died and andthe difference the request in tothe grant registers him and peace. connect After the 8tune cycles of “breath” Mozart`s with the beginning of the subsequent huge and extremely busy upward movement, it is clear that Mozart put theThis Requiem part, therefore, initial tone is the as theculmination basis of “Lacrymosa”. of the cycle, which emphasizes the connection7 to its main motive meaning-bearing works. Perhaps that is why “Lacrymosa” is often performed as a separate concert number, speaking a kind of master image representation of the Requiem Mass: mourning a man who died and the request to grant him peace. After 8 cycles Mozart`s This part, therefore, is the culmination of the cycle, which emphasizes the connection to its main motive meaning-bearing works. Perhaps that is why “Lacrymosa” is often performed as 7 a separate concert number, speaking a kind of master image representation of the Requiem Mass: mourning a man who died and the request to grant him peace. After 8 cycles Mozart`s

7 Requiem aeternam

Tuba mirum

Like the tune of “breath” in the process of development, it takes a variety of emotional tones: swift, melodious, soulful:

Dies irae

Rex remendae

Domine Jesu

The organic nature and unity of the musical material also is reflected in the germination of the cross theme that is found in the “Recordare”, “Lacrymosa”, “Domine Jesu”:

Recordare manuscript breaks off. At first, the widow of the composer requested to complete the Requiem J.L. Eybler whose songwriting talent had earned high praise of Mozart. However, Eybler only added instrumentation for the parts that had been completed in the choral score and had the Lacrymosa manuscript received by Eybler from Constanta. After attempting to complete the funeral Mass, he refused to continue the process. In the score of Lacrymosa Eybler added two bars of the Domine Jesu second sentence, which are structurally a variant of the initial phrases of the . He introduced

Andrey Yu. Sapsuev. Once again on Mozart’s Requiemthe theme(Issues of tune Intonation-and-Style of “breath”, which Analysis) had been strongly emphasized in the very first bars by “Lacrymosa” is of particular interest in the light of the topicMozart.. of our work. As is well known Mozart managed to record only 8 primary bars of the score. itNow is we dispersed shall consider between intona tion two features different of the motives.theme. to the second idea, set out at the beginning of the But if we ignore the caesura and the difference chorus, develops it. The structure of the melody After Eybler`s refusal the work was continued and completed by Franz Xaver in the registers and connect the tune of “breath” first motive is the inverse of 1-7-1, which The triad intonation a1-f2-d2 is fused with the motive of “breath”Zyusmayer. d2-cis2, This so that version the is a common practice in the concert, so we shall discuss it in more sixth iswith perceived the as beginning a recapitulation of the to it, subsequent and the last sound huge of and the triaddetail.is intonation“fused” By repeating withd2 highlights of the the third text of thethe primaryfirst senten phrase.ce, the music continues to the second idea, set out and exacerbatesextremely the busyexpressi upwardveness ofmovement, the final motif. it is clear that atIn the the beginning hidden two-bass of the chorus, tone itdevelops is easy it.to The see structurethe of the melody first motive is the inverse In “Lacrymosa” you can also find the first topic of “Requiem sequenceaeternam”, ofwhich 1-7-1, appears which is “fused” with of the third of the primary phrase. In the hidden two- on the Mozartverge of 4put and the 5 bars Requiem in the soprano. initial Here tone it asis dispersedthe basis between bassascending two tone different it intonation:is easy motives. to see the ascending intonation: But if we ignore the caesura and the difference in the registers and connect the tune of “breath” with theof beginning “Lacrymosa”. of the subsequent huge and extremely busy upward movement, it is clear that Mozart put the Requiem initial tone as the basis of “Lacrymosa”.

It It would would seem seem thatthat Zyusmayer Zyusmayer subtly subtly took took the particular thematic work and those melodic This part, therefore, is the culmination of the cycle, which emphasizes“pulses” the that connection were laidto out in Mozart`s manuscript. However, even with the 11th bar the the particular thematic work and those melodic its main motive meaning-bearing works. Perhaps that is why “Lacrymosa”development is often performed of the melodic as line of the upper voice stops, giving way to a three-fold repetition of a separate concertThis number, part, therefore,speaking a kind is theof master culmination image repres ofentation “pulses” of the Requiemthat were Mass: laid out in Mozart`s manuscript. mourning a man who died and the request to grant him peace. the After motif 8 cycles of “breath”, Mozart`s and then there is an impression that the melody makes no headway (Sakva, the cycle, which emphasizes the connection to 1962:However, 20). Aseven if thewith melody the 11 cannotth bar the gain development its force and “break away” from the sound d2. Also seems doubtful7 the repetition of the modulation turnover in F-dur at the end of the its main motive meaning-bearing works. Perhaps secondof the sentence melodic in line the orchestra of the upper part. Major voice arises stops, here as important, psychologically subtle and that is why “Lacrymosa” is often performed as precisegiving waycommentary to a three-fold on the repetitionsemantic content of the motifof the text (“pie Jesu, Jesu Domine” – “mercy on a separate concert number, speaking a kind of (him)of “breath”, Jesus, Jesusand then the Lord”),there is associated an impression with thethat idea of hope for justice of divine mercy. Re- hosting the instrumental voices of music material in the choral party, by contrast, reduces this master image representation of the Requiem effect.the melody makes no headway (Sakva, 1962: 20). Mass: mourning a man who died and the request As if theThe melody third sentencecannot gain (“Dona its force eis requiem”) and “break performs the function of reprise. Occurring in th to grant him peace. After 8 cycles Mozart`s theaway” 24 from bar a the gradual sound downward d2. diatonic movement in the bass part becomes supported by the soprano. On the one hand, it sounds like a response to the rising chromatic in the first (soprano) manuscript breaks off. At first, the widow of the and theAlso second seems (the doubtful bass party) the sentences repetition of ofthe the exposure of Lacrymosa, what makes a musical composer requested to complete the Requiem formmodulation of symmetry, turnover contributing in F-dur at to the achievementend of the of greater unity and harmony. But, at the same time, the downward movement marks the beginning of codes, so the actual reprise is J.L. Eybler whose songwriting talent had earned second sentence in the orchestra part. Major limited only by two bars. Such brevity, in our opinion, is excessive. In addition, Zyusmayer high praise of Mozart. However, Eybler only “literally”arises here repeats as important, opening bars psychologically of the first sect subtleion. Meanwhile, the content of the text is quite added instrumentation for the parts that had differentand precise than commentary in the beginning on the of semantic the number. content The first sentence refers to the trembling soul, waiting for doomsday, the text contains a recapitulation of a prayer for the gift of the eternal rest, been completed in the choral score and had the of the text (“pie Jesu, Jesu Domine” – “mercy on which indicates overcoming the fear of death. Such musical and semantic discrepancy could not manuscript received by Eybler from Constanta. come(him) from Jesus, Mozart, Jesus who the was Lord”), extremely associated cautious with about words. After attempting to complete the funeral Mass, the ideaIn of connection ​​hope for justicewith Lacrymosa of divine andmercy. its possible Re- variants of finalization we would like to touch upon another aspect. In 1962, on the International Musicological Congress, which was he refused to continue the process. In the score of heldhosting in Kassel, the instrumental a famous expert voices on of Mozartmusic material from Augsburg Wolfgang Plath made a presentation manuscriptLacrymosa breaks Eybler off. Atadded first, two the barswidow of ofthe the second composer onin reque Mozart`s the sted choral toRequiem complete party, sketch by the contrast, es,Requiem that were reduces found: this J.L. Eybler whose songwriting talent had earned high praise of Mozart. However, Eybler only sentence, which are structurally a variant of the effect. 1. Sketch of the canon of the “Rex tremendae”; added instrumentation for the parts that had been completed in 2. the Thumbnail choral score fugue and “Amen”; had the manuscriptinitial phrasesreceived ofby theEybler choir. from He Constanta. introduced Af ter the attempting The 3.to Thecomplete third third sentence sketchthe funeral was (“Dona not Mass, identified eis requiem”) with any of the parts of the “Requiem”. he refusedtheme tune to continue of “breath”, the proc whichess. had In thebeen score strongly of Lacrymosa performs Eybler the function added two of reprise. bars of Occurring the in the second sentence, which are structurally a variant of the initial phrases of the choir. He introduced th the emphasized theme tune in of the “breath”, very first which bars had by beenMozart. strongly emphasized24 bar a gradual in the downward very first diatonic bars by movement in Mozart.. the bass part becomes supported by the soprano. 8 On the one hand, it sounds like a response to the rising chromatic in the first (soprano) and the After Eybler`s refusal the work was continuedsecond and (the completed bass party) by Franzsentences Xaver of the exposure Zyusmayer. This version is a common practice in the concert, so we shall discuss it in more detail. ByAfter repeating Eybler`s the refusaltext of the workfirst senten was continuedce, the music of continues Lacrymosa, to the what second makes idea, aset musical out form of at theand beginning completed of theby chorus,Franz Xaver develops Zyusmayer. it. The structure This ofsymmetry, the melody contributingfirst motive is tothe theinverse achievement of sequenceversion of is1-7-1, a common which ispractice “fused” in with the of concert, the third so of thegreater primary unity phrase. and harmony.In the hidden But, two-at the same time, bass tone it is easy to see the ascending intonation: we shall discuss it in more detail. By repeating the downward movement marks the beginning of the text of the first sentence, the music continues codes, so the actual reprise is limited only by two

– 505 – It would seem that Zyusmayer subtly took the particular thematic work and those melodic “pulses” that were laid out in Mozart`s manuscript. However, even with the 11th bar the development of the melodic line of the upper voice stops, giving way to a three-fold repetition of the motif of “breath”, and then there is an impression that the melody makes no headway (Sakva, 1962: 20). As if the melody cannot gain its force and “break away” from the sound d2. Also seems doubtful the repetition of the modulation turnover in F-dur at the end of the second sentence in the orchestra part. Major arises here as important, psychologically subtle and precise commentary on the semantic content of the text (“pie Jesu, Jesu Domine” – “mercy on (him) Jesus, Jesus the Lord”), associated with the idea of hope for justice of divine mercy. Re- hosting the instrumental voices of music material in the choral party, by contrast, reduces this effect. The third sentence (“Dona eis requiem”) performs the function of reprise. Occurring in the 24th bar a gradual downward diatonic movement in the bass part becomes supported by the soprano. On the one hand, it sounds like a response to the rising chromatic in the first (soprano) and the second (the bass party) sentences of the exposure of Lacrymosa, what makes a musical form of symmetry, contributing to the achievement of greater unity and harmony. But, at the same time, the downward movement marks the beginning of codes, so the actual reprise is limited only by two bars. Such brevity, in our opinion, is excessive. In addition, Zyusmayer “literally” repeats opening bars of the first section. Meanwhile, the content of the text is quite different than in the beginning of the number. The first sentence refers to the trembling soul, waiting for doomsday, the text contains a recapitulation of a prayer for the gift of the eternal rest, which indicates overcoming the fear of death. Such musical and semantic discrepancy could not come from Mozart, who was extremely cautious about words. In connection with Lacrymosa and its possible variants of finalization we would like to touch upon another aspect. In 1962, on the International Musicological Congress, which was held in Kassel, a famous expert on Mozart from Augsburg Wolfgang Plath made a presentation on Mozart`s Requiem sketches, that were found: 1. Sketch of the canon of the “Rex tremendae”; 2. Thumbnail fugue “Amen”; 3. The third sketch was not identified with any of the parts of the “Requiem”.

8 Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) bars. Such brevity, in our opinion, is excessive. In 3. The third sketch was not identified with addition, Zyusmayer “literally” repeats opening any of the parts of the “Requiem”. bars of the first section. Meanwhile, the content Wolfgang Plath found that work on the of the text is quite different than in the beginning sketches was done in parallel with the creation of the number. The first sentence refers to the of the overture to “”, i.e. in the trembling soul, waiting for doomsday, the text second half of September 1791. contains a recapitulationWolfgang Plath of found a prayer that forwork the on gift the sketchesLet was us done turn in parallel to the with sketch the creation of the of fugue the overture to “The Magic Flute”, i.e. in the second half of September 1791. of the eternalLet rest, us turn which to the indicates sketch of overcoming the fugue “Amen”: “Amen”:

Its intonation content, of course, indicates that it was written for the Requiem. This draft the fearof the of exposure death. Such of the musical four-par andt fugue semantic in the tones whichIts intonation are very content, similar to of the course, themes indicates of discrepancy“Requiem could aeternam”. not come We from may Mozart, remember who that inthat the it textwas ofwritten the Requiem for the Requiem. the word This “Amen” draft of occurs only once: at the end of his third section “Sequenz”, i.e., in the conclusion of Lacrymosa. was extremelyIt is therefore cautious likely about that Mozart words. intended to completethe exposure this number of thewith four-part the fugue, fugue the sketchin the oftones Inwhich connection was found withby Plath. Lacrymosa In addition, and such its a termwhichination are veryof Lacrymosa similar to wa thes themesquite traditional. of “Requiem possibleAnd yet,variants it is impossible of finalization to say definitely, we would Moza aeternam”.rt would complete We may thisremember part of that the fugue,in the text or of rather create a different ending. It also remains to guess what would have been the final form of like the to fugue, touch if upon the composer another had aspect. included In it 1962, in the textthe of Requiem the requiem the wordmass. “Amen” occurs only once: on the InternationalOn the other Musicological hand, the well-known Congress, plagal at comp the endletion of ofhis Lacrymosa third section in the “Sequenz”, same major i.e., in whichkey was has held its advantages. in Kassel, Hisa famous sudden expertand extreme on sithemplicity conclusion and brevity of Lacrymosa. act with greatIt is therefore force. And likely in order to dare to write such a completion, which contradicted the tradition, for one of the main Mozartsections from ofAugsburg the Requiem, Wolfgang it was necessaryPlath made to havea thatthe courage Mozart intendedand genius to ofcomplete Mozart. this Perhaps number this with presentationending wason Mozart`s recorded Requiem somewhere sketches, among that the composthe fugue,er's sketches, the sketch and of then which Zyusmayer was found used by Plath. a sketch of the composer at the completion of the work. were found: In addition, such a termination of Lacrymosa was Thematic connections between the latter three parts are more straightforward, 1.unambiguous. Sketch of This, the according canon of to the K. Sakva,“Rex showsquite traditional. the “imitation And ratheryet, it thanis impossible an organic to say tremendae”;continuity” (Nosina, 2002: 10). Described earlier definitely,in this article Mozart thematic would elements complete present this inpart the of the musical fabric, but remain scattered, as if isolated from each other, resulting in the loss of the 2. Thumbnail fugue “Amen”; fugue, or rather create a different ending. It also integrity and unity of intonation, which were inherent for the preceded parts. In support of this view we may draw the example of fugue “Ossana”– 506 – in the numbers “Sanctus” and “Benedictus” (№ № 10, 11), which some researchers call “student.” The figure of the cross, the underlying

9 Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) remains to guess what would have been the final the new text (“Lux aeternam” – “Eternal Light”), form of the fugue, if the composer had included it was carried out without any logical training. In in the text of the requiem mass. addition, the shape of the first part of Mozart’s On the other hand, the well-known plagal Requiem was destroyed. In the embodiment of completion of Lacrymosa in the same major Zyusmayer it is a three-part form with dynamised key has its advantages. His sudden and extreme reprise and a truncated exposure. This has led to simplicity and brevity act with great force. And the fact that upper tone is not the same with the in order to dare to write such a completion, which structure. There is a sharp contradiction between contradicted the tradition, for one of the main the images of the text (turning to God and to sections of the Requiem, it was necessary to Christ in prayer for the petition “Kyrie” solemn have the courage and genius of Mozart. Perhaps and dazzling painting of God, surrounded by all this ending was recorded somewhere among the the saints in the final fugue “Cum sanctis”) and composer’s sketches, and then Zyusmayer used a the music itself. sketch of the composer at the completion of the Based on the facts stated above, we shall work. allow to express the idea that Mozart would have Thematic connections between the written a different ending for his masterpiece. latter three parts are more straightforward, The rationale for the proposed hypothesis will unambiguous. This, according to K. Sakva, serve as the canonical text of the Requiem, his shows the “imitation rather than an organic incarnation in the parts belonging to the hand of continuity” (Nosina, 2002: 10). Described the author, as well as letters and statements by the earlier in this article thematic elements present composer himself. in the musical fabric, but remain scattered, as The text of the Mass displays two worlds – if isolated from each other, resulting in the the earth and heaven. This perception is due to loss of the integrity and unity of intonation, the peculiarities of the Catholic rite. Based on this which were inherent for the preceded parts. In number 1 “Requiem aetqrnam” Anticipation can support of this view we may draw the example be treated as a person in the face of death and the of fugue “Ossana” in the numbers “Sanctus” priest’s prayer (“Grant eternal rest”) for the soul and “Benedictus” (№ № 10, 11), which some of the dying. The middle section is associated researchers call “student.” The figure of the with an appeal to God of the man himself. As if in cross, the underlying theme is losing its sacred confirmation of this Mozart charges the word “Te meaning, which is contributed by the dance decet hymnus, Deus in Sion, Exaudi orationem (secular) character of the part. meam” (“You sing a hymn, the Lord in Zion, hear The most controversial and ambiguous ending my pray”), the soloist soprano. The last choral of the Requiem was proposed by Zyusmayer. section (Reprise part starting from the figure 4 of Following “Agnus Dei” comes a reprise of the the score) may be likened to a common prayer for first two parts, which reveals the desire to use the soul of the just. only the musical material created by Mozart. Preparing a human for the transition to the On the one hand, the return in the latter part of other world, the priest absolves and performs the theme “Requiem aeternam” contributed to the rite of . This is the last event in the unity of the work, framed the composition. the real life of the just. At the same time it is as On the other – the connection itself “Agnus Dei” if symbolically closes the door of earthly life with “Requiem aeternam”, sounding now with and opens the gates of eternity. The last hours – 507 – Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis) or minutes of human presence on the ground as the transition to eternal life. This is clearly (time-out), perhaps the most terrible and difficult evidenced by the letters of Mozart. psychologically because nothing holds the soul of In a letter to the father there are the following man, but it is still in the earth’s shell. words “let happen what has to happen, because Following this interpretation of “Kyrie I know it is so pleasing to God, who cares for eleison” we can treat it as a picture of agony. The our well-being (even if we do not understand)” replicas “Lord, have mercy” are requests asking (Mozart – to his father in Salzburg, July 3, 1778), to rid of the last torment and suffering. A long which suggest the infinite faith in God, the and active development leads to the climax: a stop inherent true believer in His power, His goodness. on DDumVII7 followed by a pause. According Reading the letters of Mozart, it can be concluded to the dictionary, this baroque rhetorical figure that the death of the composer was perceived as aposiopesis, serving as an image of death. “eating the heavenly joys” (Mozart – to his father The short conclusion sounds like an austere, in Salzburg, July 9, 1778). Having lost the dearest unemotional, funeral chant. person – mother, he consoled himself with the The second through the seventh parts outline words: “We have not lost her forever, will we the soul’s journey through the circles of hell and see her and we will be more than happy in this heaven: Judgment Day (Day of Judgment) and world” (ibid.). Mozart always calls the death to the Terrible Anticipation before the King, and a be “true and man’s best friend”, he wrote that petition pleading for salvation (travelogue of the “the image of death not only does not contain human soul in the afterlife see Vorob’ev). At the anything terrible, but, on the contrary, gives us same time on the ground to make “sacrifices and reassurance and comfort! And I thank God for prayers” people “for the souls of the righteous what he gave me happiness to understand death dead” (№ № 8, 9). Numbers 10 and 11 appear as as the source of our true happiness. For this bliss a universal celebration of All-Good Lord. And in every day I thank the Creator, and I sincerely wish the final part of the “Agnus Dei” a prayer sounds that bliss to each of my neighbors” (Mozart – to for justification and calming the soul, “the eternal his father in Salzburg, April 4, 1787). light to shine on them.” Perhaps the true light, enclosed in Mozart’s Thus, we can assume that Mozart would life, became the key to “eternal life” of his latest not have repeated verbatim in the completion of creation, which “seemed to be moving backward the first part of his work. Especially as the death in time: becoming richer, more joyful, more of the composer perceived as the highest good, attractive” (Mysli o Motsarte, 2002: 61).

1 The same motif is found in the Berlioz Symphonie Fantastique (the beginning of Part IV of “The Procession to Death”), subject to the entry of the Sixth Symphony P.I. Tchaikovsky, in the introduction to the opera Hindemith “Killer - Hope of Women”, in a mourning march finale of the Fourth Symphony by Shostakovich and others.

References 1. Abert G. V.A. Motsart. Ch. II, kn. 2. Moscow, 1990, 560 p. 2. Dal’khov I., Duda G., Kerner D. Khronika poslednikh let zhizni i smert’. Moscow, 1984, 287 p. 3. Eskina N. Na poroge vechnosti: K 200-letiiu so dnia smerti Vol’ fganga Amadeia Motsarta. [Muzykal’naia zhizn’. 1991, № 21–22. P. 19–20]. 4. Gavrilova L. Katolicheskoe bogosluzhenie: Uchebno-metodicheskoe posobie po kursu «Istoriia zarubezhnoi muzyki». Krasnoiarsk, 2003, 23 p. – 508 – Andrey Yu. Sapsuev. Once again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)

5. Kozyrev V. Rekviem Motsarta: http://mozart.belcanto.ru/kosyrev.html 6. Motsart V.A. Pis’ma. Moscow, 2000, 448 p. 7. Musik und Medizin: Am Beispiel der Wiener Klassik by Anton Neumayr. Moscow, 2009, 312 p. 8. Mysli o Motsarte. Moscow, 2004, 222 p. 9. Nosina V. O simvolike «Frantsuzskikh siuit» I.S. Bakha. Moscow, 2002, 156 p. 10. Sakva K. Predislovie. [Motsart V.A. Rekviem. Partitura] 11. Val’kova V. Siuzhet Golgofy v tvorchestve Shostakovicha. [Shostakovich. Mezhdu mgnoveniem i vechnost’iu: Dokumenty. Materialy. Stat’i. St. Petersburg, 2000, p. 679–716.]. 12. Vorob’ev A.V. Mirovozzrencheskii parallelizm drevneiegipetskoi i rannekhristianskoi kultur na primere predstavlenii o posmertnom puteshestvii chelovecheskoi dushi [Voprosy kul’turologii. 2011, № 4. P. 33–37]. 13. Zakharova O. Ritorika i zapadnoevropeiskaia muzyka XVII – pervoi poloviny XVIII veka: printsipy, priemy. Moscow, 1983, 77 p.

Еще раз о «Реквиеме» Моцарта (вопросы интонационно-стилевого анализа)

А.Ю. Сапсуев Красноярская государственная академия музыки и театра Россия, 660049, Красноярск, ул. Ленина, 22

В статье рассматривается гипотеза о возможном варианте завершения заупокойной мессы В.А. Моцарта. На основе изучения эпистолярного наследия композитора предприняты попытки восстановить события последних дней жизни великого венского классика, а также выявить отношение автора «Реквиема» к смерти. Приводятся версии причин раннего ухода из жизни Моцарта, затрагиваются вопросы философского осмысления проблематики смерти. При рассмотрении вокально-симфонического произведения применяется интонационно- стилистический метод анализа, позволяющий сделать выводы об органичности и тематическом единстве всех частей цикла. Обращение к музыкально-риторическому словарю и терминологии эпохи барокко помогло выявить особенности музыкального текста заупокойной мессы. Ключевые слова: Моцарт, «реквием», заупокойная месса, вокально-симфоническое произведение, риторические фигуры.