Osip Kozlovsky - Requiem in E-Flat Minor 

Not Russian,it's a piece written for the death of Polish King Stanisław August Poniatowski.

@@barbaraskoczowska7449 And Beethoven's Razumovsky string quartets are Russian? Ha ha. They don't teach logic in Poland?

@@fcgdaeh Beethoven wrote string quartets (7-9) at the request of the Russian ambassador in Vienna, i.e. the German composer realized a commission for the Russian. Józef Kozłowski wrote 'Requiem' commissioned by the Polish king, i.e. the Polish composer realized the Pole's commission. This is the logic.

@@barbaraskoczowska7449 No, one of the laws of logic is violated here: the law of identity. You wrote that it is not a Russian work because it was written for the Polish king. It follows from this statement that Beethoven's string quartets written for Razumovsky are Russian works.

On IMSLP you will find a score of "Breitkopf et Hartel a Leipsic" (1806).

Wow - it is even the full score! Thank you, this means very much to me!

Maas in B minor Bach

почему-то у меня возникает ассоциация с Реквиемом Михаэля Гайдна 1771 года.

You can google the requiem text in English, this is typical text for Catholic funeral mass, it is used in all requiems

Sadly not sir, and it would be so nice to have at least a CD, but there is really no material around of this masterpiece.

Maestro, there is a wonderful score of it on IMSLP! It doesn't have parts, but it is nicely engraved.

@@owengette8089 Om, thank you!!!!

it must be a curse to notice such things

With the occasional accidental

U have no idea what ur talking abt lol

@@aus822 what did you expect from a late classical piece? fuckin jacob collier harmonies??

faure

@@boaz1353 -- Thanks....these acid-flashbacks are killing me.....

Сальери забыли упомянуть у которого тоже прекрасный Реквием, да и Гайдн..

@@user-gh3it9fm4x -- I once got this wonderful letter: "I was glad to read your comment on La grotta di Trofonio by Salieri, whom I played in the film “Amadeus.” As you might imagine, I’m extremely defensive about him. I once arranged an evening of music by both Mozart and Salieri, to be performed without identifying each piece’s composer. The audience members were quizzed afterward, and they could not decide which was which. The process of canonization is often considered to be akin to evolution, whereby the fittest survive, and the cream rises to the top. The truth is more complex, and circumstances having little to with artistry are often decisive in establishing an artist’s place in history. Do we like Mozart the most because his music is superlative? Or because his portrayal as a towering genius is so pervasive in our culture that we listen to him with reflexive deference? It may be impossible to know. Best regards, F. Murray Abraham (New York City).......С уважением из Мексики!

Just out of interest to see how different composers (both contemporary with each other and from different eras) write music using the same text in the same context, I've been listening to Requiems from many different composers. After reading your comment about a Soviet editor of Kozlovsky's Requiem, I was intrigued. I had noticed that the intro trumpet fanfare and gong in Kozlovsky's (K) Dies Irae IS IDENTICAL to the start of Luigi Cherubini's (C) Requiem No. 1 (1816) Dies Irae. Same note G, same fanfare motif, followed by a gong. The original K was written in 1798, and C in 1816. So, did C copy from K? I don't think so. Here's why: C was in the middle of the Italian / European music "industry". Any plagiarism by C would have been an immediate loss of reputation. I think C's Requiem was original. Also, similar trumpet use appears throughout the first half of C's Dies Irae. After the initial repeat at the start, such trumpet use does not appear again in the K Dies Irae. Here's what I think happened based on your info about a "Soviet editor": Note that C's Requiem #1 1816 (the one that has the same start of the Dies Irae of K) was banned by the pope because it used women's voices along with men. In 1836, C wrote another Requiem just with male voices. I think whenever your Soviet editor Yuri Alexandrovich Fortunatov did his "editing", he added that fanfare from C, to "punch it up" (thinking C's was a dead piece because of the ban from the pope), and also added the more modern items you describe above as not likely to have been written in K's time. K's work is still great, but as you said, we wonder what the original was really like.

@@johnjay3270 with all due respect, shut up you two! this is BEAUTIFUL!!!! total waste of time and music trying to analyze it. BEAUTIFUL!!! period.