Requiem's Mozart
P A R T T W O
The Intrigue
by Miles D Fish
Photos are copyrighted M.Fish.com
and may be used with written permission.
Thanks. MilesFish.com
St. Michael’s Church in Vienna where the Requiem Introitus including the Requiem Aeternum and the Kyrie was performed in a December 10 Mozart memorial service. Only the Requiem Aeternum was completed by Mozart at the time of his death December 5.
Requiem Mass
A. Introitus
1. Requiem aeternam
2. Kyrie
B. Sequence
3. Dies irae
4. Tuba Mirum
5. Rex tremendae
6. Recordare
7. Confutation
8. Lacrimosa
C. Offertory
9. Domine Jesu
10. Hostias
D. Sanctus
11. Sanctus
E. Benedictus
12. Benedictus
F. Agnus Dei
13. Agnus Dei
G. Communio
14. Lux aeterna
15. Cum sanctis
A. Introitus
1. Requiem aeternam
2. Kyrie
B. Sequence
3. Dies irae
4. Tuba Mirum
5. Rex tremendae
6. Recordare
7. Confutation
8. Lacrimosa
C. Offertory
9. Domine Jesu
10. Hostias
D. Sanctus
11. Sanctus
E. Benedictus
12. Benedictus
F. Agnus Dei
13. Agnus Dei
G. Communio
14. Lux aeterna
15. Cum sanctis
P A R T T W O
The days that followed Mozart's death
The days that followed Mozart's death
When Mozart died, he left an uncompleted requiem “working score” written in his own hand. He also left, according to Constanze, “scraps of paper” that presumably included some requiem notations.
After Mozart’s death Abbé Maximilian Stadler, a longtime family friend, helped put Mozart’s manuscripts in order. Stadler later stated that Constanze
“…told me that a few scraps of paper with music on them were found on Mozart’s desk after his death,
which she had given to Herr Süßmayr. What they contained, and what use Süßmayr made of them,
she did not know.”
B U I L D I N G M O Z A R T ’ S R E Q U I E M
Mozart’s Requiem “working score” included the following...
- Ten of the fifteen sections of the requiem mass (1-10).
- The Requiem aeternum (1) was the only section complete with Mozart’s orchestration.
- Eight of his ten “working score” sections—2-7 and 9,10—included full vocal parts in Mozart’s hand with figured bass and some motive orchestration sketches
- One of his ten “working score” sections—the Lacrimosa (8)—contained only the first eight bars.
- The Sanctus (11), Benedictus (12) and the Agnus Dei (13) were not part of his “working score” and presumably did not exist.
- The “scraps of paper” Mozart left behind may have included Agnus Dei (13) sketches, according to some sources.
- Except for the beginning bars of the Lacrimosa (8), the ten sections contained completed SATB choral parts in Mozart’s hand from start to finish. Note: A 16 bar sketch for a Lacrymosa Amen fugue was discovered in 1960 (“Scraps of paper”).
- The Communio--Lux aeterna (14) bars 23-53 and Cum sanctions (15) were “re-used” Mozart from Requiem aeternum (1) and Kyrie (2) reportedly in accord with Mozart’s instructions before he died.
On December 10, four days after Mozart’s funeral, Emanuel Schikaneder. Joseph von Bauernfeld, and possibly Baron van Swieten held, on behalf of Vienna’s court and theater musicians, a memorial service at Vienna’s Church of St. Michael’s.
"On 10 December, solemn exequities for the great composer Mozart were celebrated in the parish
church of St. Michael, at the instigation of the honest and esteemed directors of the Wiedner
Theatre."
The Der heimliche Botschafter later reported
"Herr Schikaneder had obsequies performed for the departed [Mozart] at which the requiem, which
he composed in his last illness, was executed." (R.X)
At the December 10 service, the Introitus consisting of both the Requiem aternam (1) AND the Kyrie (2) was reportedly performed with orchestra and chorus.
However, when Mozart died, he had not yet orchestrated the Kyrie, only SATB parts were complete in his “working score”. (Other sections of the mass may have been performed with organ and chorus at the St. Micheal’s service but the first two movements were performed with orchestra and chorus).
After Mozart’s death his “working score” Requiem was subjected to corruption in (at least) three separate completion processes. The Kyrie, to ready it for the December 10 St. Michael’s memorial service, was the first section to be corrupted.
Between December 5 and December 10 at least two persons created a performance ready Kyrie (2) from Mozart’s incomplete “working score” Kyrie (2). This was achieved by using Mozart’s SATB vocal lines
soprano = 1st violin, basset horn 1
alto = 2nd violin, basset horn 2
tenor = violans, bassoon 1, tenor trombone
bass = celli, bassi, bassoon 2 and bass trombone
From handwriting samples, it has been confirmed that Süßmayr wrote in the basset horn, trumpet, and timpani parts for the Kyrie. It has been concluded that the string and woodwind parts were added by Franz Jakob Freystädtler, Mozart’s 30-year-old copyist and pupil who’s handwriting happened to resemble Mozart’s.
Originally it was believed that Mozart himself might have completed the Kyrie orchestration. However, German musicologist Franz Beyer while researching for his 1971 Requiem edition, discovered un-Mozartean errors in Mozart’s original “working score”. The basset horn part contained numerous transposition errors that Mozart would not have made, and this eventually led to the conclusion that Freystädtler had made the addition in his own hand in Mozart’s “working score”. Once the Kyrie was completed and Freystädtler had made his contribution, he was no longer involved in the Requiem.
Finding friend-of-the-family composers to complete the Kyrie movement for the memorial service was the least of Constanze’s problems.
She was aware that Mozart had been given partial payment for the Requiem and that the remaining money was to be paid after the then-anonymous Count Franz von Walsegg received the completed mass. She was also aware that it was probable that the anonymous Count would not pay for an incomplete requiem and probable that he (the Count, with a reputation as a stern businessman) would demand return of the down payment.
Constanze was aware of Count Wallsegg’s exclusivity contract with Mozart and no doubt she was aware that she had violated it with the performance of the Requiem’s opening movements at the St. Michael’s December 10 memorial service.
The down payment, of course was long spent. Mozart lived beyond his means much of his life in Vienna and records show that on November 9 Mozart patron Prince Karl von Lichnowdky, who often loaned Mozart money, filed suit against Mozart and won a judgment for non-payment of debt.
Constanze was without income and Mozart left her with loans and bills to pay. She needed a completed Requiem “delivery score”. At this point, no doubt her decisions and actions were money driven.
After the memorial concert December 10, Constanze enlisted Joseph Eybler to complete the Requiem. Eybler was a member of Mozart’s inner circle of colleagues whom Mozart had held in high esteem. She approached him concerning the requiem completion around December 15 and later that month Eybler responded to Constanze request
“The undersigned herewith testifies that the widow, Frau Konstanzia Mozart, has entrusted to him
the Mass for the Dead which her late husband had begun. He further declares that he is prepared to
complete it by mid-Lent of next year, and that it will not be copied nor given to anyone else but to the
composer’s widow.” --Joseph Eybler (Vienna, December 21, 1791)
Eybler made completions that were begun but not completed by Mozart. He made them directly on Mozart’s autograph. This included additions in the Dies irae, Tuba mirum, Rex tremendae, Recordare, and Confutatis.
He added two bars to the Lacrimosa then stopped and withdrew from further contribution.
At that time Eybler does not appear to have had professional obligations or pressing conflicts so the most obvious reasons for his withdrawal would have been (1) his reluctance to be compared with Mozart should the truth come out (2) he was probably working without pay and the work may have proved to be more extensive than he anticipated.
"On 10 December, solemn exequities for the great composer Mozart were celebrated in the parish
church of St. Michael, at the instigation of the honest and esteemed directors of the Wiedner
Theatre."
The Der heimliche Botschafter later reported
"Herr Schikaneder had obsequies performed for the departed [Mozart] at which the requiem, which
he composed in his last illness, was executed." (R.X)
At the December 10 service, the Introitus consisting of both the Requiem aternam (1) AND the Kyrie (2) was reportedly performed with orchestra and chorus.
However, when Mozart died, he had not yet orchestrated the Kyrie, only SATB parts were complete in his “working score”. (Other sections of the mass may have been performed with organ and chorus at the St. Micheal’s service but the first two movements were performed with orchestra and chorus).
After Mozart’s death his “working score” Requiem was subjected to corruption in (at least) three separate completion processes. The Kyrie, to ready it for the December 10 St. Michael’s memorial service, was the first section to be corrupted.
Between December 5 and December 10 at least two persons created a performance ready Kyrie (2) from Mozart’s incomplete “working score” Kyrie (2). This was achieved by using Mozart’s SATB vocal lines
soprano = 1st violin, basset horn 1
alto = 2nd violin, basset horn 2
tenor = violans, bassoon 1, tenor trombone
bass = celli, bassi, bassoon 2 and bass trombone
From handwriting samples, it has been confirmed that Süßmayr wrote in the basset horn, trumpet, and timpani parts for the Kyrie. It has been concluded that the string and woodwind parts were added by Franz Jakob Freystädtler, Mozart’s 30-year-old copyist and pupil who’s handwriting happened to resemble Mozart’s.
Originally it was believed that Mozart himself might have completed the Kyrie orchestration. However, German musicologist Franz Beyer while researching for his 1971 Requiem edition, discovered un-Mozartean errors in Mozart’s original “working score”. The basset horn part contained numerous transposition errors that Mozart would not have made, and this eventually led to the conclusion that Freystädtler had made the addition in his own hand in Mozart’s “working score”. Once the Kyrie was completed and Freystädtler had made his contribution, he was no longer involved in the Requiem.
Finding friend-of-the-family composers to complete the Kyrie movement for the memorial service was the least of Constanze’s problems.
She was aware that Mozart had been given partial payment for the Requiem and that the remaining money was to be paid after the then-anonymous Count Franz von Walsegg received the completed mass. She was also aware that it was probable that the anonymous Count would not pay for an incomplete requiem and probable that he (the Count, with a reputation as a stern businessman) would demand return of the down payment.
Constanze was aware of Count Wallsegg’s exclusivity contract with Mozart and no doubt she was aware that she had violated it with the performance of the Requiem’s opening movements at the St. Michael’s December 10 memorial service.
The down payment, of course was long spent. Mozart lived beyond his means much of his life in Vienna and records show that on November 9 Mozart patron Prince Karl von Lichnowdky, who often loaned Mozart money, filed suit against Mozart and won a judgment for non-payment of debt.
Constanze was without income and Mozart left her with loans and bills to pay. She needed a completed Requiem “delivery score”. At this point, no doubt her decisions and actions were money driven.
After the memorial concert December 10, Constanze enlisted Joseph Eybler to complete the Requiem. Eybler was a member of Mozart’s inner circle of colleagues whom Mozart had held in high esteem. She approached him concerning the requiem completion around December 15 and later that month Eybler responded to Constanze request
“The undersigned herewith testifies that the widow, Frau Konstanzia Mozart, has entrusted to him
the Mass for the Dead which her late husband had begun. He further declares that he is prepared to
complete it by mid-Lent of next year, and that it will not be copied nor given to anyone else but to the
composer’s widow.” --Joseph Eybler (Vienna, December 21, 1791)
Eybler made completions that were begun but not completed by Mozart. He made them directly on Mozart’s autograph. This included additions in the Dies irae, Tuba mirum, Rex tremendae, Recordare, and Confutatis.
He added two bars to the Lacrimosa then stopped and withdrew from further contribution.
At that time Eybler does not appear to have had professional obligations or pressing conflicts so the most obvious reasons for his withdrawal would have been (1) his reluctance to be compared with Mozart should the truth come out (2) he was probably working without pay and the work may have proved to be more extensive than he anticipated.
Joseph Eybler added two bars to Mozart’s eight bars of the Lacrimosa then stopped and withdrew from further contribution. Eybler’s two bars were later circled in pencil by Maximilian Stadler.
After Eybler’s withdrawal, Constanze enlisted Süßmayr to complete the Requiem “delivery score”. In hindsight, Süßmayr seems to have been a logical first choice for the job. He, Mozart, and Constanze had apparently been close that last year. He had written the recitatives for Mozart’s Tito, and he was often at Mozart’s apartment during the last days when Mozart was working on the Requiem.
And although Süßmayr is often referred to as “Mozart’s pupil” the description “Mozart’s associate and colleague” would better describe their relationship since there is no evidence that Mozart gave Süßmayr music instruction. Some believe that Constanze later encouraged the use of the description “Mozart’s pupil” to enhance the credibility of Süßmayr’s role in completing the Requiem “delivery score”.
It has been speculated that Süßmayr left Vienna after the December 10 memorial concert to attend an annual Christmas pageant in Kremsmünster with his lifelong friend Pater Georg Pasterwitz who sometimes worked as a copyist for Antonio Salieri.
Maximilian Stadler was the family friend who helped Constanze organize Mozart’s manuscripts after his death. She later wrote to him
“My asking Eybler to finish it came about because I was angry with Süßmayr at the time (I don’t
remember why)…”
It has been speculated that Süßmayr was out of town on his annual Christmas trip when Constanze needed him in Vienna and that was the source of her forgotten anger. Below is a probable timeline for Süßmary’s completion that would provide a requiem “delivery score” for the remainder of the anonymous commission.
“It was well known that together with Mozart I had sung and played though the portions he already
had set to music. We also had discussed details of its composition, and he had often told me how he
planned to orchestrate the individual parts, and why…The Sanctus,
Benedictus, and Agnus Dei are entirely new; however, in order to give greater unity to the work I
took the liberty of repeating the Kyrie fugue to the words Cum Sanctis, etc.”
Some musicologists believe his letter represents an exaggeration of his Requiem competition credit and that Eybler’s contributions deserve more recognition. Some also claim that Eybler’s contributions are superior to Süßmayr’s contributions.
In February 1792, Süßmayr completed the “delivery score” for Count Walsegg using Mozart’s original manuscript; he also made two Requiem copies. On the “delivery copy” he forged Mozart’s name and carelessly included the incorrect date of 1792—Mozart died December 5, 1791. Constanze kept one for herself and one was kept to later send to publishers Breitkopf & Hartel.
And although Süßmayr is often referred to as “Mozart’s pupil” the description “Mozart’s associate and colleague” would better describe their relationship since there is no evidence that Mozart gave Süßmayr music instruction. Some believe that Constanze later encouraged the use of the description “Mozart’s pupil” to enhance the credibility of Süßmayr’s role in completing the Requiem “delivery score”.
It has been speculated that Süßmayr left Vienna after the December 10 memorial concert to attend an annual Christmas pageant in Kremsmünster with his lifelong friend Pater Georg Pasterwitz who sometimes worked as a copyist for Antonio Salieri.
Maximilian Stadler was the family friend who helped Constanze organize Mozart’s manuscripts after his death. She later wrote to him
“My asking Eybler to finish it came about because I was angry with Süßmayr at the time (I don’t
remember why)…”
It has been speculated that Süßmayr was out of town on his annual Christmas trip when Constanze needed him in Vienna and that was the source of her forgotten anger. Below is a probable timeline for Süßmary’s completion that would provide a requiem “delivery score” for the remainder of the anonymous commission.
- Süßmayr took the original manuscript and made a new copy.
- He kept the Requiem aternam (1) completed by Mozart and the Kyrie (2)
- He copied everything by Mozart (without Eybler’ additions) from the Dies irae (3)
- Orchestrated the Dies irae (3) to the Confutatis (7) using Eybler’s additions and his
- Completed the Lacrimosa (8) starting at bar 9 without using Eybler’s two added bars.
- He orchestrated the Domine Jesu (9) and Hostias (10). Süßmayr wrote the instrumentation or may have revised instrumentation provided by Abbe Maximilan Stadler
- The Sanctus (11) and Benedictus (12) were composed and added to the Requiem by Süßmayr
- Süßmary composed the Agnus Dei (13) but may have used some of Mozart’s draft (Constanze had referred to as “scraps or paper).
- The Lux Aeterna (14) reuses some Mozart measures
- The Cum Sanctis is reused Mozart material (adjusted for text) that may have been suggested by Mozart before his death.
“It was well known that together with Mozart I had sung and played though the portions he already
had set to music. We also had discussed details of its composition, and he had often told me how he
planned to orchestrate the individual parts, and why…The Sanctus,
Benedictus, and Agnus Dei are entirely new; however, in order to give greater unity to the work I
took the liberty of repeating the Kyrie fugue to the words Cum Sanctis, etc.”
Some musicologists believe his letter represents an exaggeration of his Requiem competition credit and that Eybler’s contributions deserve more recognition. Some also claim that Eybler’s contributions are superior to Süßmayr’s contributions.
In February 1792, Süßmayr completed the “delivery score” for Count Walsegg using Mozart’s original manuscript; he also made two Requiem copies. On the “delivery copy” he forged Mozart’s name and carelessly included the incorrect date of 1792—Mozart died December 5, 1791. Constanze kept one for herself and one was kept to later send to publishers Breitkopf & Hartel.
Abbé Maximillian Stadler wrote in Constanze’s Requiem copy in order to note errors and to indicate the portions written by Mozart. Stadler circled in pencil the portions that Mozart did not write. He also marked most of Mozart’s contributions “Moz”. Above is photo of the facsimile of the Confutatis where the pencil markings are still visible.
Dies irae "A" is from the Requiem DELIVERY COPY. Dies irae "B" is from the WORKING SCORE. Stadler's marks showing portions that Mozart did NOT write, are still visible in this facsimile also.
Then, sometime before March 4, 1792, a Requiem copy was made for King Friedrich Wilhelm II of Prussia, which he purchased for 450 florins (about $63,000 USD today).
January 2, 1793, Baron van Swieten organized a benefit in Vienna for Constanze and her two sons. The completed Requiem was performed for the first time then.
The following December 14, 1793, on the anniversary of his wife’s death, Count Walsegg conducted the Requiem at the Cistercian monastery in Wiener Neustadt. After receiving his “delivery score” he had copied it in his own hand then forged a title
“Requiem composto del Conte Walsegg.”
The irony here is that the “delivery score” title that Count Walsegg had forged —“Requiem by W.A.Mozart”—had earlier been forged by Süßmayr who had dated it 1792 in error. At any rate, it was Walsegg’s--“Requiem composto del Conte Walsegg”—forged title that would later cause him problems.
The Count conducted the Requiem again the following December 14, 1794. He was either unaware that the work had already premiered in Vienna under Mozart’s name in January 1793 or chose to ignore it. He later sued Constanze for breach of contract but dropped the suite in 1799 realizing that further legal action could lead to additional embarrassment and reputation damage.
After the Count’s 1794 Requiem performance he made no more use of it except for some string quartet extractions. In 1800 the publishers compensated him; some sources believe that Constanze may also have compensated him. The compensation may have been additional copies of the Requiem or money or both.
In 1800 the first edition of the Requiem’s full score was published. In 1801 Johann Anton Andre published a vocal score after purchasing from Constanze Mozart’s entire music estate.
Mozart’s Requiem controversies of authorship and stories of intrigue have been with us since the day Mozart died. This included what must have been a scramble by Constanze to complete a “delivery copy”. Plus Count Walsegg’s lawsuit and compensation. Plus, Süßmayr’s February 8, 1800, letter to the publishers detailing his alleged work on finishing the requiem and supplying his own compositions for the Sanctus, Benedictus, and Agnus Dei.
In 1825 Gottfried Weber a legal counselor who was also editor of a music journal Cäcilia ignited a Requiem firestorm when he declared that Mozart’s Requiem was wholly written by Süßmayr and the genuine Requiem was missing. Once again, Abbé Maximilian Stadler and publisher Johann André did their best to calm the waters. Later Stadler would take a pencil and circle in Constanze's Requiem copy the passages that Mozart had NOT written and often wrote in pencil “MOZ” by portions he did write. He also noted in pencil some copyists’ errors in the score. Stadler’s marks are still visible today.
Süßmayr had died in 1803.
There was more controversy when in 1833 when the library acquired Joseph Eybler’s copies of Mozart’s portion of the Lacrymosa, Domine Jesu, and Hostias and realized that these portions were in Mozart’s hand.
And Walsegg’s “delivery copy”, discovered in 1838, was stamped by the Austrian library “Not Authorized for Publication” where it remained “not for publication” for more a hundred years.
The questions “What If…?” are more numerous and more sobering than the controversies.
The unfinished Requiem marked the end of Mozart’s productive last days and marked the beginning of events of intrigue and speculation that continue to this day. For more than 200 years these events have been the subjects of fascination and inspiration for musicologist, biographers, novelists, playwrights, bloggers, screenwriters, actors, musicians and a worldwide public.
Count Walsegg purchased two memorials for his young wife Anna. One was the granite tomb whose beauty would he thought would last forever. The other was music that would be heard, uplift and inspire then disappear as Anna had done in her short lifetime. During the Napoleonic wars the Countess’ tomb was defaced to near destruction and her remains had to be relocated; the granite memorial that was to last forever was destroyed. Ironically the music written because of her—Mozart’s Requiem—became the lasting memorial.
At the end of his life, Mozart repeatedly mentioned that he was writing the Requiem for himself. Countess Anna von Walsegg, along with two centuries of music lovers, would no doubt beg to differ.
January 2, 1793, Baron van Swieten organized a benefit in Vienna for Constanze and her two sons. The completed Requiem was performed for the first time then.
The following December 14, 1793, on the anniversary of his wife’s death, Count Walsegg conducted the Requiem at the Cistercian monastery in Wiener Neustadt. After receiving his “delivery score” he had copied it in his own hand then forged a title
“Requiem composto del Conte Walsegg.”
The irony here is that the “delivery score” title that Count Walsegg had forged —“Requiem by W.A.Mozart”—had earlier been forged by Süßmayr who had dated it 1792 in error. At any rate, it was Walsegg’s--“Requiem composto del Conte Walsegg”—forged title that would later cause him problems.
The Count conducted the Requiem again the following December 14, 1794. He was either unaware that the work had already premiered in Vienna under Mozart’s name in January 1793 or chose to ignore it. He later sued Constanze for breach of contract but dropped the suite in 1799 realizing that further legal action could lead to additional embarrassment and reputation damage.
After the Count’s 1794 Requiem performance he made no more use of it except for some string quartet extractions. In 1800 the publishers compensated him; some sources believe that Constanze may also have compensated him. The compensation may have been additional copies of the Requiem or money or both.
In 1800 the first edition of the Requiem’s full score was published. In 1801 Johann Anton Andre published a vocal score after purchasing from Constanze Mozart’s entire music estate.
Mozart’s Requiem controversies of authorship and stories of intrigue have been with us since the day Mozart died. This included what must have been a scramble by Constanze to complete a “delivery copy”. Plus Count Walsegg’s lawsuit and compensation. Plus, Süßmayr’s February 8, 1800, letter to the publishers detailing his alleged work on finishing the requiem and supplying his own compositions for the Sanctus, Benedictus, and Agnus Dei.
In 1825 Gottfried Weber a legal counselor who was also editor of a music journal Cäcilia ignited a Requiem firestorm when he declared that Mozart’s Requiem was wholly written by Süßmayr and the genuine Requiem was missing. Once again, Abbé Maximilian Stadler and publisher Johann André did their best to calm the waters. Later Stadler would take a pencil and circle in Constanze's Requiem copy the passages that Mozart had NOT written and often wrote in pencil “MOZ” by portions he did write. He also noted in pencil some copyists’ errors in the score. Stadler’s marks are still visible today.
Süßmayr had died in 1803.
There was more controversy when in 1833 when the library acquired Joseph Eybler’s copies of Mozart’s portion of the Lacrymosa, Domine Jesu, and Hostias and realized that these portions were in Mozart’s hand.
And Walsegg’s “delivery copy”, discovered in 1838, was stamped by the Austrian library “Not Authorized for Publication” where it remained “not for publication” for more a hundred years.
The questions “What If…?” are more numerous and more sobering than the controversies.
- What if Count Walsegg had not been dishonest and commissioned a requiem to claim as his own composition?
- What if there had been no December 10 Mozart memorial service that set into action a chain of events that resulted in completion of his unfinished work?
- What if Constanze had been a wealthy widow without need of immediate funds?
- What if Constanze had done the honorable thing and declared to Count Walsegg that the Requiem was unfinished?
- Or what if she had made the next-best honorable choice and given a completed Requiem to the Count and accepted the remaining commission only to have the Count claims it as his own.
The unfinished Requiem marked the end of Mozart’s productive last days and marked the beginning of events of intrigue and speculation that continue to this day. For more than 200 years these events have been the subjects of fascination and inspiration for musicologist, biographers, novelists, playwrights, bloggers, screenwriters, actors, musicians and a worldwide public.
Count Walsegg purchased two memorials for his young wife Anna. One was the granite tomb whose beauty would he thought would last forever. The other was music that would be heard, uplift and inspire then disappear as Anna had done in her short lifetime. During the Napoleonic wars the Countess’ tomb was defaced to near destruction and her remains had to be relocated; the granite memorial that was to last forever was destroyed. Ironically the music written because of her—Mozart’s Requiem—became the lasting memorial.
At the end of his life, Mozart repeatedly mentioned that he was writing the Requiem for himself. Countess Anna von Walsegg, along with two centuries of music lovers, would no doubt beg to differ.
Last Words Lost. The entire Mozart Requiem was displayed at the 1958 Brussels World’s Fair. In an unguarded moment the right corner with the words “Quam Olim, D: C:” was torn off and stolen. It is believed to be the last words Mozart wrote. Musicologist and music lovers worldwide continue to wait for the return of Mozart’s final Da Capo.
BIBLIOGRAPHY
Beyer, Franz. W. A. Mozart Requiem. Switzerland: Edition Kunzelmann , 1971.
Burk,John Naglee. Mozart and his Music. New York, Randon House,1959.
Keefe, Simon P. Mozart’s Requiem, Reception, Work, Completion. New York: Cambridge University Press, 2012.
Landon, Robbins H.C. Mozart’s Last Year: 1791. New York: Thames and Hudson Inc., 1999.
Leeson, Daniel. Opus Ultimum! The Story of the Mozart Requiem Second Edition.New York: Algora Publishing, 2012.
Melograni, Piero. Wolfgang Amadeus Mozart: A Biography. Translated by Lydia G. Cochrane. Chicago: The University of Chicago Press. 2007
Mersmann, Hans (editor). Letters of Wolfgang Amadeus Mozart. Translated from the German by M. M. Bozman. New York: Dover Publications, Inc., 1972.
Neumayr, Anton. Music and Medicine Volume 1, page 174 by University of Michigan: Medi-Ed Press, 1994.
Spaethling, Robert. Mozart’s Letters, Mozart’s Life: Selected Letters. New York: W.W. Norton & Co, 2000.
Solomon, Maynard. Mozart: A Life. New York: HarperCollins Publishers, 1995.
Wolff, Christoph. Mozart’s Requiem: Historical and Analytical Studies, Documents, Score. Translated by Mary Whittall. Los Angeles: University of California Press, 1994.
Wolff, Christoph. Mozart at the Gateway to His Fortune: Serving the Emperor, 1788-1791. New York: W. W. Norton, 2012.
BIBLIOGRAPHY - WEB SOURCES
Little Masonic Cantata KV623
http://freemasonry.bcy.ca/biography/mozart_a/eine_kleine_freimaurer.html
The Magic Flute
https://www.britannica.com/topic/The-Magic-Flute
The Story and Backstory of Writing the Magic Flute
https://utahopera.org/explore/2019/02/the-story-and-backstory-of-writing-the-magic-flute/
What’s up with Sussmayr?
http://www.gregoryvajda.com/2014/03/16/whats-up-with-sussmayr/
Die Zauberflöte
http://www.classicalnotes.net/opera/zauberflote.html
Biography of Mozart
https://www.wolfgang-amadeus.at/en/biography_of_Mozart.php
Wolfgang Amadeus Mozart
https://www.britannica.com/biography/Wolfgang-Amadeus-Mozart#ref362948
Mozart—Ave verum corpus
https://www.classicfm.com/composers/mozart/music/ave-verum-corpus/#EvmZJVZSALLClWrZ.97
Mozart: New Documents
https://sites.google.com/site/mozartdocuments/documents/1791-hofmann
The Mozart Project
http://www.mozartproject.org/compositions/ko_86_91.html
Mozart’s final year and death — 1791
https://www.classicfm.com/composers/mozart/guides/mozarts-final-year-1791/#jOcMrYlB0CO5RmG8.97
After Mozart’s Death, an Endless Coda
https://www.nytimes.com/2010/08/25/arts/music/25death.html?_r=0
Mozart: Adagio and rondo K.617
http://www.palestinemusicfestivals.org/Palestine%20Mozart%20Festival/Adagio%20and%20Rondo.html
Wolfgang Amadeus Mozart and his sacking by Archbishop Colloredo
https://hubpages.com/entertainment/wolfgandamadeusmozartandhissackingbythearchbishopofsalzburg
Mozart—Clarinet Concerto in A
https://www.classicfm.com/composers/mozart/music/mozarts-clarinet-concerto-revealed/#wlcgx4i7sCPiF0xq.97
Musical Works of Mozart
https://www.wolfgang-amadeus.at/en/musical_works_of_Mozart.php
W.A. Mozart Mass in c, K.427 (417a)
http://www.jamescsliu.com/classical/Mozart_K417a.html
Classical Notes Mozart Requiem
http://www.classicalnotes.net/classics/mozartrequiem.html
The Guardian Mozart’s Requiem: the mysteries continue…
https://www.theguardian.com/music/tomserviceblog/2011/dec/16/mozart-s-requiem-mysteries
Mozart’s Requiem Labyrinth of Deception
http://www.salieri-online.com/mozreq/pg1.php
Classic fm Mozart’s final year and death - 1791
https://www.classicfm.com/composers/mozart/guides/mozarts-final-year-1791/#Q0uV3Plm0Jq12h2M.97
Little Masonic Cantata KV623
http://freemasonry.bcy.ca/biography/mozart_a/eine_kleine_freimaurer.html
The Magic Flute
https://www.britannica.com/topic/The-Magic-Flute
The Story and Backstory of Writing the Magic Flute
https://utahopera.org/explore/2019/02/the-story-and-backstory-of-writing-the-magic-flute/
What’s up with Sussmayr?
http://www.gregoryvajda.com/2014/03/16/whats-up-with-sussmayr/
Die Zauberflöte
http://www.classicalnotes.net/opera/zauberflote.html
Biography of Mozart
https://www.wolfgang-amadeus.at/en/biography_of_Mozart.php
Wolfgang Amadeus Mozart
https://www.britannica.com/biography/Wolfgang-Amadeus-Mozart#ref362948
Mozart—Ave verum corpus
https://www.classicfm.com/composers/mozart/music/ave-verum-corpus/#EvmZJVZSALLClWrZ.97
Mozart: New Documents
https://sites.google.com/site/mozartdocuments/documents/1791-hofmann
The Mozart Project
http://www.mozartproject.org/compositions/ko_86_91.html
Mozart’s final year and death — 1791
https://www.classicfm.com/composers/mozart/guides/mozarts-final-year-1791/#jOcMrYlB0CO5RmG8.97
After Mozart’s Death, an Endless Coda
https://www.nytimes.com/2010/08/25/arts/music/25death.html?_r=0
Mozart: Adagio and rondo K.617
http://www.palestinemusicfestivals.org/Palestine%20Mozart%20Festival/Adagio%20and%20Rondo.html
Wolfgang Amadeus Mozart and his sacking by Archbishop Colloredo
https://hubpages.com/entertainment/wolfgandamadeusmozartandhissackingbythearchbishopofsalzburg
Mozart—Clarinet Concerto in A
https://www.classicfm.com/composers/mozart/music/mozarts-clarinet-concerto-revealed/#wlcgx4i7sCPiF0xq.97
Musical Works of Mozart
https://www.wolfgang-amadeus.at/en/musical_works_of_Mozart.php
W.A. Mozart Mass in c, K.427 (417a)
http://www.jamescsliu.com/classical/Mozart_K417a.html
Classical Notes Mozart Requiem
http://www.classicalnotes.net/classics/mozartrequiem.html
The Guardian Mozart’s Requiem: the mysteries continue…
https://www.theguardian.com/music/tomserviceblog/2011/dec/16/mozart-s-requiem-mysteries
Mozart’s Requiem Labyrinth of Deception
http://www.salieri-online.com/mozreq/pg1.php
Classic fm Mozart’s final year and death - 1791
https://www.classicfm.com/composers/mozart/guides/mozarts-final-year-1791/#Q0uV3Plm0Jq12h2M.97