V.A. Mozart- one of the greatest representatives of world musical classics, humanist artist , whose creative activity was associated with the advanced ideas of the Enlightenment.
Mozart's creativity is characterized by depth of thought, breadth, richness of content, variety of forms, optimism, life force, expressiveness of melody, rare artistic perfection of form. Mozart synthesized in his work the diversity of European musical culture XVIII century and had a great influence on the development of almost all genres musical art, raised choral music to an unattainable height.
A large part of the huge creative heritage Mozart is composed of choral music. They wrote essays large form for choir and orchestra: the oratorio "The Penitent David", "The Liberated Betulia", masses (among them the Great Mass in c-moll stands out), cantatas of spiritual and secular content (the most famous cantata "Towards the Sun"), Requiem - the composer's last creation.
Among the chamber choral works of Mozart, one can distinguish a number of motets, individual spiritual works ("Kyrie", "Miserere"), hymns, canons. The choirs "Summer Evening" and "Are verum corpus" are very popular in performing practice.
"Requiem" is one of the stable types of the Catholic Mass. Unlike its other varieties, it has undergone very significant changes in the last two centuries, without losing the overall continuity of traditions. Destined for the funeral liturgy it consisted of a number of hymns - unchanging parts of the ordinary mass and graduals, psalms, sequences, directly marking the purpose and nature of this liturgy. As traditional hymns, the requiem included "Kyrie", "Sanctus", "Agnus Dei". As the most ancient ritual, "Offertorium" was included. Stable among the graduals were "Dies irae" ( With
included in it, except for the title section "Tuba mirum", "Rex tremendae", "Recordare", "Confutatis", "Lacrimosa"). He opened the liturgy "Introitus" with the words "Requiem aeternam dona eis, Domine" - "Give them eternal rest, Lord." From initial words this genre got its name.
During the period of stabilization - until the XV century. - the requiem took shape as a genre addressed to the mass audience, aimed at the spiritual unification of its various groups through empathy, sympathy. Ideas about death and the "other world" are reflected in this genre.
The canonization of the text led to a sharply defined structure of the genre and determined its stylistic features: the predominance of slow movements, reprise-closed forms, and a special type of thematicism. Moreover, the hymn parts musical material, as a rule, did not differ from the sections of the same name in the ordinary mass.
A significant genre transformation of the preclassical requiem was carried out by a representative of the Venetian school of Cavalli. The sequence "Dies irae" in his requiems became a kind of dramatic center due to the emphasized sounding of many textual details and the introduction of horror effects.
The process of the genre going beyond the cult style proceeded in the sphere of its contacts with the secular instrumental music. The first results appeared in the work of G. Gabrieli (Viennese polyphonic school of the 16th century), who created new type requiem - with instrumental accompaniment, which existed until the middle of the 17th century. in parallel with a "cappel. The classics of the 18th century were attracted in the requiem by the original seriousness of the subject matter, which required restraint, nobility of expression. The best examples of the genre classical period belong to Gasse (German), Iommelli (Italian) and Mozart.
Since that time, the requiem has acquired the features of a concert genre. This was due to the fact that the XVIII - early. 19th century were associated with the general extinction of the religious feeling that once united the broad sections of the population. Thus, F. Liszt's requiem (1869 - 1870) represents original example synthesis of the stylistic elements of the spiritual music of the Renaissance and the composer's melodic-harmonic means.
We find a different interpretation of the genre in Bruckner, Faure, Dvorak, Puccini. By keeping the Latin text, the authors do not recreate the musical model of the medieval mass. The verbal basis, as it were, loses its original meaning, and the works themselves as a whole closely adjoin either the cantata or the oratorio.
Thus, the evolution of the genre at the end of the XVIII century. - early XX century. led, on the one hand, to a significant expansion of its ideological themes with frequent appeal to patriotic motives, on the other hand, through interaction with other choral genres and theater, to the final exit into the field of concert practice and the loss of many of the original qualities of the primary model.
First decades of the 20th century marked by a weakening of interest in large choral form, did not give significant results in the field of requiem. In 1916, the English composer Delius created the Requiem for the first time on prose texts from the writings of Nietzsche. Only D. Weil's Berlin Requiem belongs to the 1920s.
Therefore, when classifying modern requiems according to the type of text model, three main groups are formed:
requiems to the Latin liturgical text: "Requiem Canticles"
(chants for the dead) by I. Stravinsky, requiem by D. Ligeti (Hungarian), music by A. Schnittke for F. Schiller's tragedy "Don Carlos".
· Hindemith's "Requiem for those we love";
· Britten's war requiem, "Dies irae" by Penderecki.
In conclusion, we can say that the requiem genre has gone through various stages of the evolution of artistic consciousness, various stylistic eras and trends. At the same time, the main qualities of the primary model were preserved by composers under the conditions of a particular system of musical language.
"Requiem" by Mozart, without a doubt, is not only one of the best creations of its brilliant author - it is one of the best creatures world musical literature. All the pages of this work - from the most tender lyrical to the most tragic - are deeply humane. "Requiem" was created by Mozart in recent months prior to his death. The order was received in May 1791 on behalf of a mysterious stranger sent by Count Franz von Walsegg. The count intended to pass off this work as his own, since it was customary for rich amateurs to buy works from needy composers and rank them among their opuses. And, only to chance the world owes the greatest amazing work also because in Mozart's work "Requiem" appears as a completely different, unusual and, moreover, the final stage in the evolution of the creative consciousness of the master.
As you know, the dying Mozart wrote "Requiem" with incredible tension. last strength and still couldn't finish it. He bequeathed to finish his last composition beloved student - Süssmeier. It is more or less reliably established that in the "Requiem" belongs to Mozart and what was completed by his student. The first number "Requiem aeternam" was written entirely by the composer in the form of a complete score. In the following numbers (Dies irae; Tuba mirum; Rex tremendae; Recordare; Confutatis; Domine Jesu, Hostias, partially Lacrymosa), Mozart wrote the vocal part, gave the harmonic basis and in some places orchestrated. Most of the music composed by Süssmeier relates to the last three numbers. However, it should be noted that, fulfilling the request of Mozart, the fugue from No. 1 (Kyrie eleison) was included in the last number (Agnus Dei).
The genre of the funeral mass (as well as the Sunday, festive mass) is based on the canonized texts of prayers recited on Latin. Some of them ("Kyrie eleison", "Sanctus", "Benedictus", "Agnus Dei") are the same as in the Sunday Mass. However, the essence of the funeral service is revealed in other texts, characteristic only for it, and the musical numbers corresponding to them. The first of them "Requiem aeternam" ("Give them eternal rest"), opening the service, he, together with "Kyrie eleison" ("Lord have mercy"), forms a large introduction. The next section "Dies irae" ("Day of Wrath") is the main one in "Requiem". Painting pictures of the end of the world doomsday. Two numbers - "Domine Jesu" ("Lord Jesus") and "Hostias" ("Sacrifice") - form the third section (offertorium), which leads to the rite performed over the deceased. "Sanctus" opens the fourth section, which includes "Benedictus" and "Agnus Dei". From this moment on, the motives of grief are removed, the idea of joining the deceased to eternal life gives rise to images of joy and exultation. The funeral Mass approaches the Sunday Mass only in "Agnus Dei". The prayer text has been changed in accordance with the content of the service, in particular, this section ends with words reminiscent of its beginning; "cum sanctus tuis in aeternam" ("rest with the saints").
The main role in the "Requiem" is played by the choir. Of the twelve numbers, nine are performed by the choir with individual phrases of soloists, three by a quartet of soloists. Imitative polyphony is widely used in the work. Many numbers are presented in a mixed warehouse (harmonic and polyphonic). The Requiem contains three fugues, each of which runs twice: Kyrie and Agnus Dei (first and last numbers), Domine Jesu and Hostias (numbers eight and ninth), Sanctus and Benedictus (numbers ten and eleven).
IN choral music"Requiem" is influenced by the remarkable predecessors of Mozart - Bach and Handel.
1. "Requiem aeternam" (Eternal rest) - a prayer for giving peace to a weary soul and for brightening it, with a dark, eternal light of goodness and joy. This part ends with a tense exclamation "Lord, have mercy."
2. "Dies irae" (day of wrath) - the day of the great judgment, the day of vengeance and
retribution. The harsh anthem of the Middle Ages, when accumulated among people
so much grief and tears, insults and horrors that the human imagination could not
then to come to terms with the consciousness that the judge will not come and the tears will remain
unavenged. The rapidly stormy onslaught of this music is replaced by
threatening exclamation.
3. "Tuba mirum" (Pipe of the Eternal). Mozart has a majestic trombone introduction, followed by lamentations and painful sighs of the convicts against the background of strings: "What shall I say, unfortunate one, to which advocate shall I turn?".
4. "Rex tremendae" (The king is amazing). Trembling and shuddering are replaced by light, smoothly developed.
5. "Recordare" (Sword of mercy) - a prayer for mercy, as if in response sounds a gloomy sentence.
6. "Confutatis" (Confounding) - "into the flames of the damned!". But as soon as the groaning subsides, a plea is heard again: "Call me to the righteous!".
7. "Lacrymosa" (Tearful) - the gentle color of Mozart's lyrics: "make rest your creatures on that mournful day of tears."
8. "Domine Jesu" (Lord Jesus) - "God, save the souls of the dead from hellish torments" - widely deployed, on dramatic oppositions of voice groups in harmony, now in plexuses, now in powerful unison - universal prayer is based.
9. "Hostias" (Sacrifice) - a reverent offering.
10. "Sanctus" (Holy) - brilliant solar message.
11. "Benedictus" (Blessed) - soft flowing, wavy
the melodic line sounds like a good greeting: "Blessed is the one who comes."
Both "Sanctus" and "Benedictus" close with joyful clicks of "Osanna".
12. "Agnus Dei" (Lamb of God) - "take away the sin of the world, grant them eternal
peace" - the final universal prayer, expressively closes the entire
majestically tragic idea.
The whole work is imbued with high humanism, passionate love for man, ardent sympathy for his suffering.
Requiem (Mozart)
First page of the score. In the upper right corner, Mozart's inscription "1792" - the estimated date of completion of the Requiem
Composition of the orchestra and choir
Vocal parts are represented by soprano, alto, tenor and bass, as well as a four-part choir.
The text of "Requiem" with translation
1. INTROITUS
Et lux perpetua luceat eis.
Te decet hymnus, Deus, in Sion,
Et tibi reddetur votum in Jerusalem;
Exaudi orationem meam,
Ad te omnis caro veniet.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
(translation)
And let eternal light shine on them.
A hymn is sung to you, O God, in Zion,
And prayers are lifted up to you in Jerusalem.
Hear my prayer
All flesh returns to You.
Give them eternal rest, O Lord,
And let eternal light shine on them.
2. KYRIE
Kyrie eleison. christie eleison,
Kyrie eleison.
(translation)
Lord have mercy. Christ, have mercy;
Lord have mercy.
3. SEQUENTIA
Dies irae
Dies irae, dies illa
Solvet saeclum in favilla,
Teste David cum Sibylla.
quantus tremor est futureus,
Quando judex est venturus,
Cuncta stricte discussurus.
(translation)
Day of wrath, that day
Turn the world to dust
According to David and the Sibyl.
What a great trembling will come,
When the Judge comes
Who strictly judges everything.
4. Tuba mirum
Tuba mirum spargens sonum
Per sepulcra regionum,
Coget omnes ante thronum.
Mors stupebit et natura,
Cum resurget creation,
Judicanti response.
Liber scriptus proferetur,
In quo totum continetur,
Unde mundus judicetur.
Judex ergo cum sedebit
Quidquid late apparebit,
Nil inultum remanebit.
Quid sum miser tunc dicturus?
quem patronum rogaturus,
cum vix justus sit securus?
(translation)
Trumpets amazing sound will sweep
Over graveyard countries
Calling all to the throne.
Death and nature will freeze
When creation is resurrected
Give the judge an answer.
The book will open
Containing everything
By what will the world be judged.
And so, when the Judge sits down,
All secrets will be revealed
Nothing will go unpunished.
What then, wretch, shall I say?
Whom will I call for defenders,
if even the righteous can scarcely be safe?
5. Rex tremendae
Rex tremendae majestatis,
Qui salvandos salvas gratis,
Salva me, fons pietatis.
(translation)
King of terrifying majesty
Favorably saving those who seek salvation,
Save me, source of mercy.
6.Recorder
Recordare, Jesu pie,
Quod sum causa tuae viae,
Ne me perdas illa die.
Quaerens me sedisti lassus,
Redemisti crucem passus;
Tantus labor non sit cassus.
Juste judex ultionis,
Donum fac remissionis
Ante diem rationis.
Ingemisco tanquam reus,
Culpa rubet vultus meus;
Supplicant parce, Deus.
Qui Mariam absolvisti,
Et latronem exaudisti,
Mihi quoque spem dedisti.
Preces meae non sum dignae,
Sed tu, bonus, fac benigne,
Ne perenni cremer igne.
Inter oves locum praesta,
Et ab haedis me sequestra,
Statuens in parte dextra.
(translation)
Remember, merciful Jesus,
That I was the reason for your way
Don't kill me that day.
me, sitting in despair,
Redeemed by accepting the torment on the cross;
May the sacrifice not be barren.
Righteous Judge of vengeance,
grant forgiveness
Before Judgment Day
Guilty, I cry with a groan,
With a face burning with shame;
Have mercy on the supplicant, God.
Justified Mary
And who heard the thief,
Give me hope too.
My prayers are unworthy
But You, Good One, have mercy,
Don't let me burn in flames forever.
Give me a place among the lambs
And separate me from the goats,
Putting it on the right side.
7. Confutatis
Confutatis maledictis,
Flammis acribus addictis,
Voca me cum benedictis.
oro supplex et acclinis,
Cor contritum quasi cinis,
Gere curam mei finis.
(translation)
Confounding the wicked,
By the flames betraying them to hell,
Call me with the blessed ones.
I pray, humble and bowed,
Heart worn out like ashes.
Take care of my demise.
8. Lacrimosa
Lacrimosa dies illa,
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus,
Pie Jesu Domine,
Dona eis requiem. Amen.
(translation)
Full of tears that day
When it rises from the ashes
To be condemned, man.
So have mercy on him, God
Merciful Lord Jesus,
Grant them peace. Amen.
9. OFFERTORIUM
Domine Jesu Christe
Domine Jesu Christe
Libera animas omnium fidelium defunctorum
De poenis inferni et de profundo lacu.
Libera eas de ore leonis,
Ne absorbeat eas tartarus,
Ne cadant in obscurum:
Sed signifer sanctus Michael
Repraesentet eas in lucem sanctam,
Et semini ejus.
(translation)
Lord Jesus Christ, King of glory,
Release the souls of all the faithful departed
From the torments of hell and the bottomless lake.
Free them from the lion's mouth
So that tartar does not swallow them,
And they did not disappear into the darkness:
But the leader Saint Michael
May he lead them into the sacred light,
which you once promised to Abraham
And to his offspring.
10 Hostias
Hostias et preces tibi, Domine,
Laudis offerimus.
Tu suscipe pro animabus illis,
Quarum hodie memoriam facimus:
Fac eas, Domine,
De morte transire ad vitam,
Quam olim Abrahae promisisti,
Et semini ejus.
(translation)
Sacrifices and prayers to You, Lord,
We lift up with praise.
Accept them for the souls of those
Who do we remember today?
Let them, Lord,
From death to life
which you once promised to Abraham
And to his offspring.
11. SANCTUS
Sanctus, Sanctus, Sanctus,
Dominus Deus Sabaoth!
Pleni sunt caeli et terra gloria tua.
Hosanna in excelsis.
(translation)
Holy, Holy, Holy
Lord God of hosts!
Heaven and earth are full of Your glory.
Hosanna in the highest.
12. BENEDICTUS
Benedictus, qui venit in nomine Domini.
Hosanna in excelsis.
(translation)
Blessed is he who comes in the name of the Lord.
Hosanna in the highest.
13. AGNUS DEI
Dona eis requiem.
Agnus Dei, qui tollis peccata mundi,
Dona eis requiem sempiternam.
(translation)
Grant them peace.
The Lamb of God who took upon himself the sins of the world.
Grant them eternal rest.
14. COMMUNIO
Lux aeterna
Lux aeterna luceat eis, Domine,
Cum sanctis tuis in aeternum, quia pius es.
Requiem aeternam dona eis, Domine,
Et lux perpetua luceat eis.
(translation)
May eternal light shine upon them, O Lord,
With Your saints forever, for You are many-merciful.
Give them eternal rest, O Lord,
And let eternal light shine on them.
see also
Notes
Links
- Mozart's Requiem - at the Mariinsky Theater website
- Mozart and Salieri. Mario Corti - transcript of the radio program "Culture" (Radio Liberty)
Notes
- Wolfgang Amadeus Mozart. Geistliche Gesangswerke. Requiem, Mozarts Fragment Musical notation of Mozart's Requiem fragments with critical commentary (in German) on the Neue Mozart-Ausgabe website, reproduction of the 1965 Internationale Stiftung Mozart edition
- Requiem, K.626 Free Files musical notation at the International Music Score Library Project
- Requiem, KV 626 Free sheet music files on ChoralWiki
| This article or section contains a list of sources or external links but the sources individual statements remain unclear due to the absence of . |
It is difficult now to distinguish what is fiction and what is true in the history of writing the "Requiem" and the poisoning of Mozart. It is only for us that the deaths of geniuses look strange, mystical, but in fact, there is probably a pattern here. No one can interfere with the game of genius. He leaves, throwing out some completely absurd plot of his death as parting, as ridiculous as his work is ingenious...
Here is about the creation of "Requiem" from the site http://www.classic-music.ru/mozart.html:
The year 1791 was also difficult. Even more than before, Mozart suffered from lack of money. Constanta was expecting a baby and was seriously ill. The doctor insisted on her going to Baden for treatment with mineral waters.
Shortly before Constanta's departure, a stranger dressed in all black knocked on the door of the house where the composer lived. Bowing politely, he said:
I have come to you, sir, on behalf of a very important person.
Who exactly? Mozart asked.
This person does not want his name to be known.
So be it. What does he want?
He has just lost a loved one, whose memory will forever remain precious to him. He wants to celebrate the anniversary of death every year with a solemn church service and asks to write a requiem for this purpose (Requiem is a mourning work for the choir and solo voices with orchestra accompaniment. Initially, the requiem was a funeral mass in catholic church. Later, the requiem becomes mainly a concert piece.).
Mozart agreed to take on the unusual order, but could not give a date for its completion.
Put all your talent into this business, you have the honor to work for a great connoisseur of music, - said the stranger and left.
The idea of creating a requiem - great work for choir of singers-soloists and symphony orchestra deeply captured Mozart.
Lately he had been increasingly visiting the magnificent library of Baron van Swieten, where there were many rare editions and manuscripts. Here he got acquainted with the monumental works for the choir by Johann Sebastian Bach, which at that time were little known and were not performed at all. Deep dramatic images cantata and oratorio by Bach produced by Mozart strong impression. Having agreed to write a requiem, he was glad of the opportunity that allowed him to turn to large choral forms. However, this work was not completed so soon. A lot of effort and time was taken by the order made by Shikaneder, director small theater in one of the Viennese suburbs.
Listen, Mozart! You must help me! he declared, twinkling with his small, sly eyes. - I need to put on a play that would create glory for my enterprise. Viennese love everything light and cheerful. So I decided to turn to you so that you would write me the opera "Magic Flute"! I will not spare the cost of scenery, all kinds of theatrical effects and amazing magical transformations.
Wishing to rescue his acquaintance from Salzburg times out of trouble, Mozart agreed to write an opera without demanding money, however, so that Schikaneder would not let anyone rewrite the score of the opera. In the near future they started to work.
Mozart's "Magic Flute" is a new type of fairy-tale opera for its time. Her poetic intention and bright lyrics are deeply connected with the beautiful world of Austrian folk poetry. The opera reflected the optimistic worldview of the great composer, who was close to the educational ideas of the leading part European society late XVIII century. In his "Magic Flute" Mozart appears before us as a true humanist artist.
The premiere of The Magic Flute took place on September 30, 1791. That evening the composer himself conducted the opera. However, the first performance was not successful. Mozart was deeply shocked by this failure. Returning home, he felt such a breakdown that he took to bed.
But Schikaneder did not give up. The failure, apparently of an accidental nature, should not have overturned his calculations. He set off on a ruse and, regardless of the number of visitors, continued to play the "Magic Flute" every evening. The Viennese became interested: "Is the new opera making good fees?" Everyone wanted to go to the theater more people, and the opera won the sympathy of the public.
Now nothing prevented Mozart from continuing to compose the Requiem. He worked on it with the same enthusiasm as on his best operas. He made this work expressive of real human experiences, captured in it the whole depth of suffering and grief that the death of a loved one brings to people. Majestic, full of deep drama and harsh epic pathos, the choirs alternate in the Requiem with tender, lyrical enlightened episodes.
The composer's health was getting worse.
Apparently, I am writing this Requiem for myself, he told his wife and friends more than once.
The appointed time has expired, and the work has not yet been completed. Precisely on the appointed day, the mysterious stranger in black reappeared.
I need another month, Mozart answered. - The work captured me more than I thought, so I had to expand it to a much greater extent than I originally intended.
In that case, you should have another fifty ducats. When the score is finished, the amount of the fee will be increased because the composer was so modest in his demands.
Sir, - Mozart was surprised, - but who are you?
This has no bearing on the question; I'll be back in four weeks, came the reply.
Later misterious story with a mysterious order was explained very simply. Count Franz von Wilsegh zu Stuppach, a great lover of music, wished at all costs to be known as a composer. To this end, he ordered various kinds of compositions from talented musicians, rewrote them with his own hand and then passed them off as his own.
Having lost his beloved wife in 1791, the count decided to honor her memory with the performance of the Requiem. To this end, he sent his manager to Mozart, who negotiated with the composer. The desire to appropriate the work of the great Mozart explained the secrecy that surrounded the negotiations. But this strange mystery had a depressing effect on the excited imagination of the tired composer, tormented by constant adversity and anxieties.
The state of mind of the great composer was deeply and accurately conveyed by Pushkin in his drama "Mozart and Salieri":
My black man does not give me peace day and night. He follows me everywhere like a shadow. And now it seems to me that he is the third Sitting with us ...
Mozart's Requiem - a grandiose work for choir, soloists and symphony orchestra - opens with a tragic chorus full of confusion and sorrow. The real dramatic action takes place in the second chorus of "Dies irae" ("Day of Wrath").
The tragic images of the old folk hymn, created in the 13th century, during the terrible plague epidemic, fascinated the composer so much that he wrote six grandiose episodes to the words of a short text.
Severe, full of gloomy grandeur and formidable power, the choirs, drawing pictures of death and destruction with stunning dramatic power, contrast vividly with mournful entreaties, with touching complaints. The lyrical culmination of the whole work "Lacrimosa" ("Lacrimosa" - "tearful") is imbued with quivering excitement and enlightened sadness.
The mournful music of "Lacrimosa" excited Mozart so much that he was unable to complete the final finishing of the choral parts and moved on to composing the next two choirs. In the previous parts, the parts of the soloists and the choir were completely finished, but the instrumentation remained only outlined.
Somehow friends came to visit Mozart, they were shocked sickly look composer. They persuaded Mozart to leave work for a while and go to bed. He agreed on one condition: his friends would immediately perform the finished parts of the Requiem for him. Mozart handed out his part to everyone and decided to take part himself: he sang the viola part in a barely audible voice.
There were sounds full of anxiety and confusion before the future. The bitterness of parting with life, an angry protest against his own untimely death gave rise to this exciting melody, so unlike ordinary church music.
When the tragic music about the "Day of Wrath" was replaced by the gentle, mournfully enlightened sound of one of the following choirs, the composer was unable to restrain the sobs that choked him.
The excitement had a bad effect on the patient - his fever increased, delirium began. By evening, however, consciousness returned. The last thoughts of the dying man were connected with his favorite creations: with the "Magic Flute" and the unfinished Requiem.
How I would like to go to the theater again on my "Magic Flute," he whispered, and in a barely audible voice began to hum Papageno's song "I am the most dexterous bird-catcher." Then Mozart placed his watch beside him in order to mentally follow the performance of The Magic Flute, which was playing that evening at Schikaneder's Theatre.
Now the first act ends. Now, probably, the Queen of the Night sings her aria, - Mozart spoke with difficulty.
At this time, his favorite student Süssmeier came. Mozart immediately demanded the manuscript of the Requiem and began to give the young man the necessary instructions. He instructed him to complete the presentation of the three choirs and perform the orchestration, outlined only in outline.
By nightfall, the patient had lost consciousness again. Breathing became less and less. At about one o'clock in the morning Mozart died.
Burial was scheduled for the next day. There was not a penny in the house, so Baron Val Sviten, a well-known patron of musicians at that time, took over the expenses.
As soon as it became known about the death of the great composer, a stream of people rushed to the house on the outskirts of Vienna, where Mozart's body lay in a modest study next to the old harpsichord. The untimely death of the composer deeply shocked his contemporaries. A rumor spread about poisoning by means of a slow-acting poison. However, there were no serious grounds for these rumors.
According to van Swieten's instructions, the composer was buried in the third category. The body of the deceased was placed in a coffin, hastily knocked together from unpainted pine boards, and taken to St. Stephen's Cathedral, where a short funeral service took place.
A separate grave for Mozart was not prepared - van Swieten did not order this. On December 7, Mozart's body was buried in a common grave, where the poor, homeless vagrants and criminals were buried.
Only many years later, an attempt was made to find the grave where the remains of the great composer rested.
But... to no avail...
Nowadays, at the very beginning of the Vienna cemetery, you can see a beautiful monument to Mozart. But the ashes of the great composer are not under it.
So contemporaries spent the last journey of one of the most prominent people of his era. Need, insecurity, constant anxiety about tomorrow along with intense creative work, were the cause of the untimely death of the composer, who burned down in the prime of his genius, at the thirty-sixth year of his life.
Wolfgang Amadeus Mozart
REQUIEM
===========
Requiem (KV 626) - last and unfinished workWolfgang Amadeus Mozart, on which he worked before his death, is a mourning funeral mass written in canonical latin text. The composition was completed by students of Mozart, mainlyFranz Xaver Süsmeier; nevertheless, the Requiem is regarded as one of Mozart's most important works.
History of writing...
In the middle of July 1791 Wolfgang Amadeus Mozart (1756-1791) received through an intermediary - a certain man in gray - an order to compose the "Requiem" on terms of secrecy ... As it turned out later, the "Requiem" was ordered by the Count Franz von Walsegg-Stuppach... see the long history of the creation of this last piece of Mozart here - http://ru.wikipedia.org/wiki/%D0%A0%D0%B5%D0%BA%D0%B2%D0%B8%D0%B5%D0% BC_(%D0%9C%D0%BE%D1%86%D0%B0%D1%80%D1%82). This is an informative article, in which you will find a lot of information, including the Latin canonical texts of the mass and their Russian translations. It is very good (especially about the legends that accompanied the history of writing the mass) to see also the English version [http://en.wikipedia.org/wiki/Requiem_(Mozart)]
Mass structure. The Requiem consists of 14 parts (7 canonical sections):
I recommend listening here(http://www.music4good.ru/rekviem-mozarta-proslushat/), since this is a fairly good recording, the names of the parts are indicated (each can be listened to separately, a formal division into 12 parts is applied); An important advantage of this source is also that the mass can be written off to your PC in the “flac” and “mp3” formats.
The true treasury of Mozart's works is here: many records (> 2300): http://classic-online.ru/ru/composer/Mozart/46 incl. Requiem (KV626) [conductors Claudio Abbado, Herbert von Karajan, Sir Georg Solti, many others; performance acapella and so on]
DIRECTORY
a cappella ( ital. "how inchapel ») — A chapel - polyphonic choral singing without instrumental accompaniment. The term appeared at the end 17th century, it is usually associated with the practice of papal worship in Roman Sistine Chapel. In a broader sense, "a cappella" refers to a vocal part performed without musical accompaniment.
KV(or K), cm. Koechel's catalog
bassethorn(Italian corno di basseto, German Bassethorn - alto clarinet) - woodwind instrument, a type of typical clarinet, occasionally used in orchestral and ensemble music
Koechel's catalog- full list of works Wolfgang Amadeus Mozart V chronological order. Usually abbreviated K or KV. first edition ( K 1) amounted to Ludwig von Koechel(1862, "Chronologisch-thematisches Verzeichnis sämtlicher Tonwerke Wolfgang Amadé Mozarts" ["Chronological and Thematic Catalog of the Complete Musical Works of Wolfgang Amadeus Mozart"]). The catalog listed all the works of Mozart known to Koechel from number 1 (fragment for harpsichord written by Mozart as a child) to 626 ( Requiem). To date, eight editions of the catalog have been released.
offertory — gift offering — Part masses V Western liturgical rites catholic church
Mozart — Wolfgang Amadeus Mozart , full nameJohann Chrysostom Wolfgang Theophilus Mozart ( German Joannes Chrysostomus Wolfgang Theophilus Mozart ; January 27, 1756 , Salzburg — December 5, 1791 , Vein ) - Austrian composer , Kapellmeister , violinist virtuoso, harpsichordist organist . According to contemporaries, he had a phenomenal ear for music, memory and the ability to improvise. Mozart is one of the greatest composers: his uniqueness lies in the fact that he worked in all musical forms of his time and in all achieved the highest success. Along with Haydn And Beethoven , belongs to the most significant representativesVienna classical school. For details see: http://en.wikipedia.org/wiki/%D0%9C%D0%BE%D1%86%D0%B0%D1%80%D1%82,_%D0%92%D0%BE% D0%BB%D1%8C%D1%84%D0%B3%D0%B0%D0%BD%D0%B3_%D0%90%D0%BC%D0%B0%D0%B4%D0%B5%D0% B9 and http://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart
requiem(lat. requiem- funeral mass from the first word of the Latin text: re q uiem aeternam dona eis give them eternal rest] 1 . In the Catholic Church: the funeral service. 2 . Musical orchestral and choral work of a mournful nature
sequence ( Late Lat. sequentia - succession, from sequens - next) -text-music form and genre in the liturgical practice of the Catholic Church.
fugue(lat. fuga- "flight", "fast flow") - a contrapuntal (polyphonic) form of musical composition based on the development of one theme, which is carried out alternately in different voices (vocal or instrumental)
Requiem(lat. Missa pro defunctis or lat. Missa defunctorum)- Funeral mass for the dead Roman Catholic Church, as well as a musical genre written in the form and on the texts of the funeral mass. Since traditionally in the Catholic Church worship was conducted in Latin, the text of the Requiem, with the exception of Kyrie eleison also composed in Latin. The very word "Requiem" literally means "calm" and comes from the initial words of the introduction (Introit) – Requiem ternam dona eis ("Give them eternal rest, Lord"), originating from the apocryphal 4th book of Ezra. IN Orthodox churches similar in meaning is the memorial service, but the latter differs significantly from the requiem in form.The Catholic Requiem Mass differs from the regular Mass with the exception of a number of solemn parts such as the Gloria, Credo, and Alleluia and the addition of the Dies Irae part. According to the Latin rite, the Requiem includes 9 parts:
Introit (Requiem aeternam)
Kyrie
graduale
Tract (Absolve Domine)
Sequentia (Dies irae)
Offertorium (Domine Iesu Christe)
Sanctus
Agnus Dei
Communio (Lux aeterna)
In musical works, the structure of a requiem usually has 7 main parts and looks like this:
Introit - Requiem aeternam ("Eternal rest")
Kyrie - Kyrie eleison ("Lord, have mercy")
Sequence - Dies Irae, "Day of Wrath")
Ofertory - Domine Iesu Christe, "Lord Jesus")
Sanctus ("Sanctus", "Holy")
Agnus Dei (Lamb of God)
Commune - Lux aeterna, "Eternal Light")
Introit
The first two lines of the Introitus text come from the apocryphal 4th book of Ezra. The following (from the words "Te decet hymnus") are from the Psalter (ch. 64:2-3)
Kyrie
The opening section of the Mass. The only part that is traditionally sung in Greek.
Sequence
The sequence is the most voluminous behind the text, and therefore is usually divided into several parts. For example, in Mozart's "Requiem" there are 6 of them: Dies irae - Tuba mirum - Rex Tremendae - Recordare - Confutatis - Lacrimosa. The text of the sequence supposedly belongs to the Franciscans Tommaso da Celano (XIII century).
(Full text...)
Offerory
In the Catholic Mass, the offertory is the time for offering gifts to God. During this part of the ceremony, bread and wine are brought to the altar for consecration. The offering of gifts is accompanied by chants. In the Requiem, the offertory contains two parts - "Domine Jesu Christe" ("Lord Jesus Christ") and "Hostias" ("Sacrifice").
Sanctus
Includes two sections - actually Sanctus and Benedictus. Text of the Sanctus taken from two sources. The first line comes from the book of Isaiah (Is. 6:3), the second is a slightly modified fragment of the Gospel of Matthew (Matt. 21:9) The Benedictus text comes from the Gospel of Luke (Luke 1:68)
Agnus Dei
The last part of the Ordinary Mass. The sacrificed Lamb of God is the image of Jesus Christ, who took upon himself all the sins of mankind. The text is borrowed from the Gospel of John (John 1:29), the first two lines are verbatim, the third is modified.
commune
The communion in the mass is a prayer of thanksgiving, sung during communion, from which the term comes. The requiem uses the chant "Lux aeterna" ("eternal light").
Like the mass, at first the requiem consisted of melodies of Gregorian chant, which were performed in unison, while in the choice of melodies there were various local traditions. Already in the 15th century. polyphonic arrangements of these melodies began to appear. The first requiem of this type among those that have survived to this day belongs to I. Okegem. Other Renaissance composers who wrote requiems include Orlando di Lasso and G. da Palestrina.
In the 17th-18th century, in the era of the birth and development of opera and the establishment of a homophonic-harmonic style, the Requiem turned into a large cyclic form for choir, soloists and orchestra. The canonized melodies of the Gregorian chant ceased to be its intonational basis, instead the textual basis was preserved. Among the authors of the Requiem of this era are A. Lotti, F. Durante, N. Jommelli, A. Hasse.
The most famous Requiem of the classical era is Requiem in d-moll by V.A. Mozart, written in 1971. The requiems of L. Cherubini and A. Salieri belong to the same era.
The most significant requiems of the romantic era are considered to be the requiems of G. Berlioz (1837), G. Verdi (1873), as well as the "German Requiem" by I. Brahms (1868), written, unlike the previous ones, on german text. Among the authors of requiems of the 19th century there are also such famous composers, like F. Liszt, A. Bruckner, A. Dvorak, C. Gounod, C. Saint-Saens, G. Fauré.
A number of composers of the 20th century wrote requiems without using canonical texts. In particular, this is the "War Requiem" by B. Britten, in which liturgical Latin texts are combined with poems by the English poet W. Owen. Row Soviet composers wrote their requiems in memory of V.I. Lenin and other ideologists of the red terror, in particular D. Kabalevsky, Khodja-Einatov and others.
Notable works of this genre at the end of the 20th century belong to E. L. Webber, K. Penderetsky and A. Schnittke. In EL Webber's Requiem, like in his rock opera Jesus Christ Superstar, the influence of fatal aesthetics is palpable. Neo-romantic "Polish Requiem" by K. Penderecki extended with the traditional Polish hymn "wity Boe". Schnittke's Requiem is notable for the abundant use of non-traditional symphonic music instruments - electric guitars, bass guitars, a large number percussion.
