In 2005, as I was preparing to sing this as a requiem with the local Cathedral Choir for John Paul II, I left a copy of this score on my desk as I was going about my regular duties. My boss picked up the score, looked through it, and said, "I KNOW THIS!!" He had sung it as a youngster. Eternal rest to his soul! He died just a few months later. I sang a little of it later at his grave. Music transcends time... and death.
The Introit has always been my favorite part of the Requiem. It establishes an ominous mood like no other piece I've listened to in my life. The intensity of the harmonies and orchestration once the choir joins all the way to the first "Et lux perpetua" moves me to tears every time. It's that same breathless feeling when you're sobbing uncontrollably. It's so potently emotional in its desperation.
agree it gives me chills every time i listen to it or perform it. There is nothing like that opening. And when the sopranos sing 'exaudi' at the tutti (the soprano solo) soaring above the other voices it brings tears
Hey, just a question, are they saying le - e - e - e etc or le - le - le - le at the semiquavers/16th notes? Because I imagine singing it the first way is much harder
+Eileen Espinoza that is true, however Mozart had made most of the structure of the piece so his students already knew what it was going to sound throughout so he didn't physically finish it, but he did.
+Eileen Espinoza And yes we know completed the Requiem, he was Süssmayr the last student of Mozart, he completed Lachrymose and continued the pieces after that one
The kyrie is a borrowed theme from Handel`s Messiah, which Mozart had rescored for a commission. The theme is from the chorus AND WITH HIS STRIPES. The same theme also is used in Bach`s fugue in A minor 2nd book of the WTC, and in the Haydn`s string Quartet in F minor from Op 20. Borrowing was a common practice of the day.
Actually these 4 notes are of a very obscure origin. It is very much possible that both Bach (a minor fuga, II WTC) with majestic and in the same time very bref and rudimentary treatment of the theme, and Haendel with majestic and grandiose development of the same theme in Messiah, took its core (5-3-6-7) from an unknown earlier source, probably as early as XVI c. Treatment of the theme by Mozart is much closer to Haendel than to Bach - probably because both Mozart and Haendel developed it on choral material. The reflection on this theme you may hear as far as in fuga of the final of Beethoven (pianoforte) sonata #28 A major.
I figured it was inspired by Handels Messiah, you can hear it. Most likely, he really respected that piece because he also composed an arrangement of it.
I'm sorry I have to break this to you but unfortunately he passed away. He left us just 233 years ago, feels like yesterday. I still remember not being able to comprehend not knowing that I won't be able to get to hear to this masterpiece in person because I did not even exist back then. Good times, I would probably say if I were there.
When I heard it for the first time I didn’t know music could touch that way. It is still unparalled to this day: I’ve never heard another musical moment move me in the same way
3:17 begins perhaps the most beautiful and expressive stretch of fugal music I've heard and how it builds culminating in the heartfelt cry "Et Lux Perpetua!" Handel could rouse you like no other Bach could move you with sheer majesty but this is sacred poetry most sublime.
exactly love this notes my heart just melt in it.. and especially, for some versions, the chiming in of trumpet/horns just sublimates the sense of divinity
I'm from Asia. You westerners should be proud of master composers like Mozart. The west and it's Christian Civilization brought so many benefits to the world at large. There is a huge amnesia today of all these good things and all i hear are what was bad about the crusades, about the missionaries, about this and that. Get your heads right and be proud of your forefathers. Your own future generations will spit on your graves if you do not respect and value your Christian roots and forefathers and their achievements.
Unfortunately, there is an intense indoctrination through the university system that preys on a young adult's unconscious desire to formulate beliefs and ideas which are distinct from their parents, and former authority figures. I fell prey to it, but in my 30's I'm regaining the ability not only to think for myself, but to see clearly through understanding. There's an effort there that most young people don't want to expend, because you have to challenge the beliefs you have, which are the result of challenging still older beliefs. It's a never ending spiral, but that's how you know you're growing- your perspective is always changing. Once it stops, you lose the ability to see that there is no "truth" in human affairs. Just different perspectives. And then the anger gets a foothold, and you become a kind of "Crusader" you had been told so many awful things about in University lol
Well said , I am a Westerner I live in Colorado. I read a book by Michael Chrighton "Rising Sun" I also read "Memoirs of a Geisha" ironically to my surprise was written by a Westerner -weird- there was another but I forget the name. And I was enthralled with your culture, values, tradition, and patience. I became aware that westerners may be looked upon as Savages who still eat with Pitch Forks and Shovels. Who bathe in there own filth. Words like Loyalty, Honor, Love , and Peace. I would love to learn more of your culture. I think Westerners took things with brute force, with guns, with violence, and we are taught that, that is good thing. I don't believe our ways are better than Easterners ways, I think that we are going to learn this fact in a very hard way. GOD BLESS YOU! and Thank You. for your Comnent.
Hey, there's an amnesia in Asia too as Chinese seem to systemically forget what TCM (Traditional Chinese Medicine) was like before the Cultural Revolution (against culture), ugh. Our culture was wiped out in the Dark Ages -- renaissance aside -- ever darker today
@@brendanpospischil3871 Yes it is the same in Latin but it was taken from Greek. Also "Lord" is probably a better translation (knowing that we are actually addressing God) . A direct translation from Greek would be "Mister", but in context it still means "God".
The fugue is wonderful and its elements never cease to arrest and caress the deepest part of a listening soul. I get the same loving vibration from the closing movement of the Messiah. Do listen to Worthy Is the Lamb and Amen. The fugue you hear throughout the Amen is evidence that all voices resolve in a magnificent Oneness and peace in Paradise.
No sé y nunca sabremos cuales son las partes escritas por Mozart y cuales por sus discípulos, pero de que el Requiem es una obra maestra monumental de una belleza insuperable, no hay duda !!
se sabe. Tanto el INTROITUS como el KYRIE fueron completadas en su totalidad por Mozart, el resto de la secuencia queda inconclusa con el LACRIMOSA, de la secuencia en adelante el escribió solamente las partes corales, las instrumentales Y el bajo continuo. también escribió de igual forma el ofertorio. gran parte de la primera resolución del trabajo se la debemos a Eybler, quién fue el primero en revisar la obra a pedido de Constanza Weber, Eybler no se considera digno de completar la obra y uno de los Amigos y discípulo de Mozart, Franz Susmayr es quien termina la versión más popular que conocemos. de el (de Susmayr son en su totalidad el Sanctus, Benedictus y Agnus Dei) además de está versión hay muchas otras echas a lo largo de la historia y es algo muy interesante de estudiar y de conocer. también hay un movimiento extra compuesto por otro compositor, Liberame de Neukomm.
I'd rather not have it completed. Having an incomplete Requiem is better than a complete one, as it teaches us about the mysteries and inevitability of death, just as a Requiem ought to do.
With todays knowledge it seems impossible to travel back in time (but you can in theory travel into the future) because of entropy and the characteristics if time itself. There might be an "anti-time" and "anti-atoms" which do travel back in time but so far we are not able to detect them or even understand them. So yeah maybe some very smart person is able to understand the characteristics of time fully and might be able to make a time machine but even then it is theorisied that traveling back in time is like creating a new universe so when we find mozart and try to bring him to our timeline its impossible because he is in another universe (which might be equal to ours our completely different).
Ironically, 20 years into his musical career, Mozart begins to move away from his simpler Style Gallant form and looks back at Bach and the sophistication of the Baroque as his guide. The result is wonderful but short lived. If Mozart had lived into his 50's it would have been glorious.
The introit and kyrie are full writed by mozart hand,he writed only some measures from the lacrimosa they still exist today...than requim was finished based on some scores left for the whole requim and some instruction by mozart..one of his student finish it based on all his scores and instructions
Come posso amare tante musiche , tante no tutte , grazie a tutti i compositori , del passato presenti , quelli classici , cosi chiamati , quelli popolari , agli interpreti , alle persone che dedicano il tempo per postarli , grazie di cuore per avermi dato , la vita . Raffaella Martinelli .
@@georgeashley9712 Mach /mɑːk,mak/ noun the ratio of the speed of a body to the speed of sound in the surrounding medium. It is often used with a numeral (as Mach 1, Mach 2, etc.) to indicate the speed of sound, twice the speed of sound, etc.
Le repos éternel, donne-leur Seigneur, et que la lumière éternelle brille sur eux. À Toi est due la louange, ô Dieu, dans Sion, et que soient accomplis les voeux formés dans Jérusalem. Exauce ma prière : que tout être de chair vienne à Toi. Le repos éternel, donne-leur Seigneur, et que la lumière éternelle brille sur eux.
Mozart had a certain way of making music incredibly unique. So far, I can say that the harmony becomes so essential at some point. But try to listen to the piece with everyone except the Altos, or the Tenors, or Basses, or Sopranos; All parts are so tightly wound together that if you take away one it sounds entirely different. As a soprano it has been a joy everytime I sing this, but without the basses we all would be f***ed up. This piece is a wonderful masterpiece.
well, if you take any part away from a piece of music, there will, of course, be diminishment, as each part fills in the harmony, resulting in a balanced chord.
Mozart, como sincero iniciado que foi (apesar de todas as suas imperfeições), começou seu Réquiem (sua última obra, e não por acaso uma Missa Fúnebre), da seguinte forma: dos 09:00s aos 00:44s, a “nebulosidade” da melodia reflete a “confusão” ou “perturbação espiritual” da alma logo após deixar o corpo (tudo parece meio vago, lento, confuso e estranho). De 00:44s até 00:50s, a melodia reflete a agudeza fria, profunda, dolorosa e repentina da lembrança da última vida pela alma; agudeza que não é só musical, mas pungente: as recordações de seus pecados lhe ferem o mais profundo do ser, tão logo recobra a consciência após o breve “coma” da transição entre dois mundos. De 00:50s em diante, as sucessões de vozes agudas e graves indicam os apelos e condenações que toda alma há-de sofrer na viagem até Deus. Não é preciso ser iniciado como Mozart nem colocar a alma em risco nas confrarias secretas para descobrir esses mistérios na arte. Basta acostumar os sentidos físicos e extra-físicos no êxtase da real beleza artística...
Kyrie Eleison means Lord have mercy in Latin. Considering how Portuguese is a Romance language, it is no surprise that the translation is similar. God bless!
@@martinbarzola7342 You are correct, it is Greek. But Kyrie Eleison comes from Latin to Portuguese through the Catholic Church. In the same way, those of us who have grown up Catholic, even Americans, know what Kyrie Eleison means as native English speakers. It still means that in Latin just like the word exit. Is exit any less English because it came from Latin? No.
Tip: On the second-lowest line, see the number 8 attatched to the G-treble? That means that the notes written are supposed to be sung an octave lower. Also, the voices are alligned from top to bottom like this: Soprano at the top (lighter voiced women) Alt below that (darker voiced women) Tenor at the second lowest (lighter voiced men) Bas at the bottom (darker voiced men)
Mozart "finished" more than 2/3 of the mass. even though he wrote 8 bars for Lacrimosa, he finished the bassline and vocal parts of Offertorium (Domine Jesu and Hostias) also, also there is an "Amen" fugue sketch by Mozart which was supposed to come after lacrimosa. Sussmayer never attempted it (it was later finished by Robert Levin) Also parts Sussmayer finished derive heavily from Mozart's early sacred works: The main material of Agnus Dei of the Requiem quotes Gloria of Spatzenmesse in C major K220 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-g2dvhL82dj0.html and Lacrimosa references Credo of Spatzenmesse ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-g2dvhL82dj0.html
When I found your selections here, I knew I had hit the motherlode! I sang in choirs through grammar school, university and on into life as a singer, teacher and accompanist. COVID has put a stop to most of this, and I am everyone is hoping for end to the lockdowns. I wanted you know how very much I am enjoying the music here. Thank you! From (still) bitterly cold Canada.
These videos are so helpful! Thank you for uploading them, I know it must have been a great effort to get the sheet music, and edit it for it to be so go along wit the music.
Actually, D. Scarlatti did use that progression in several of his harpsichord sonatas, it was just that a lot of Scarlatti's work wasn't too well know outside the Portuguese and Spanish courts (I do think this progression was influenced by D. Scarlatti hearing Iberian folk music) . Mozart was influenced a lot by the baroque composers. If you examine the progression in the instrumental intro. (at the beginning) you will find that same progression used in a number of Handel Coronation Anthems and Dixit Dominus. Mozart just expanded on this. Another baroque piece worth some examination is Handel's Birthday Ode to Queen Anne. See if you can find some similarities to that here. The great thing about Mozart is, upon closer examination, you will find he did borrow a lot from some obscure baroque pieces and finding those are a large part of the fun. Didn't mean to ramble on...was just giving some food for thought!
What what Mozart care about Spanish! Mozart was a German speaker, and the German word for Bassoon is Fagott, the first solo instrument heard and abbrev. in the scores as Fag. (Ital. fagotto,) In both the latter languages it refers to something to do with wooden sticks, like a gathered firewood bundle. The bassoon resembles two tubular sticks joined together, hence the name. I hesitate to think what some of you would do with sackbut, the forerunner of the trombone, old French for push-pull.
The kyrie is brilliant but in my opinion, the introit is the most beautiful of the two. Truly soul-destroying to know Mozart was just getting started with this absolutely magnificent piece until death intervened. Who knows what pieces of absolute genius have been robbed from us, and there is nothing we can do about it. It hurts me.
When I started music school they threw you in a choir and we had to sing this. I was tenor, but I'm not completely sure if I sang the tenor part an octaved down soprano part. whoever was the loudest in my ear >.
