Editor’s note: Arachnophonia is a regular feature on our blog where members of the UR community can share their thoughts about resources from the Parsons Music Library‘s collection.

Today’s installment of Arachnophonia is by student worker Emma R. (class of 2021) and features a study score edition of Mozart’s Requiem. Thanks, Emma!

Mozart’s Requiem

What does it mean to compose a piece of music? Is it writing the notes on the page? Is it dictating the general musical idea? Writing the lyrics? What about the problem of orchestrations? If the composition is in the musical idea, can we know what a composer intended the piece to sound like? These kinds of questions can apply to many pieces by composers who do not work completely alone – both contemporary and long-dead. However, when considering a piece such as Mozart’s Requiem, these questions clearly take on greater than typical importance. As is commonly known, Mozart’s Requiem was left unfinished at the time of the composer’s death – a tale highly dramatized throughout the centuries since. But dramatization aside, this leaves serious questions for modern historically aware performers and listeners – questions which are not present when considering most other works. Who really wrote what parts of the Requiem? What did Mozart imagine when he conceived of the work?

Due to the unfinished nature of the work, the autograph does not contain all the answers. Portions of the autograph – the original handwritten version of the piece – are in Mozart’s hand and other portions are not. Significant portions were not completed at all. Orchestrations and – some scholars argue – entire sections, such as a hypothesized intended fugue – are missing. This doesn’t even begin to consider the lack of answers to many performance questions which impact the sound of the piece – articulation markings, dynamics, tempos, and more.

1st page of Mozart’s autograph manuscript of the Requiem
Public Domain, https://commons.wikimedia.org/w/index.php?curid=853665

Currently, the version completed by Mozart’s student Süßmayr is considered somewhat the standard. However, this is still a decision that must be made prior to every performance of the work, as other versions – completed by Mozart scholars – do exist. I myself am not informed enough about Mozart’s style nor his compositional process to make normative statements about the potential distance between the composer’s likeliest intentions and the accepted completed version today, however scholars such as Friedrich Blume and Nathan Broder have. In their article, “Requiem but No Peace,” these scholars argue, for example, “that flutes, oboes, clarinets, and horns are wholly absent in the complete Requiem is entirely unMozartean and must weaken Süssmeyer’s (sic) credit…” (Blume and Broder 1961, 161). Furthermore, these authors argue that since Mozart tended to compose orchestrations in three rounds – the above mentioned winds in the last round – that the lack of these instruments is more likely due to the unfortunate death of the composer than due to his intentions to leave them out (160).

Can we really say that the Requiem as we hear it performed – perhaps Mozart’s most well-known work today is really written by Mozart? Is the Requiem we know actually what the Mozart Requiem would have sounded like had the composer lived long enough to see it completed?

This study score at the Music Library shows all parts of the accepted Süßmayr completion – including markings which denote portions from the manuscript judged to be in Mozart’s vs Süßmayr’s handwriting. (It’s a miniature score – so it isn’t large and bulky). Take a listen and read along. No matter who wrote it, it really is a marvelous work.

Detail of a portrait of Wolfgang Amadeus Mozart by Johann Nepomuk della Croce – Unknown, Public Domain, https://commons.wikimedia.org/w/index.php?curid=449108