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59-553: According to Köchel's counting, Requiem in D minor is the 626th piece Mozart composed, thus is designated K. 626 . Köchel's original catalogue (1862) has been revised several times. Catalogue numbers from these revised editions are indicated either by parentheses or by superscript: K. 49 (47d) or K. 47d refers to the work numbered 47d in the sixth edition. In the decades after Mozart's death there were several attempts to catalogue his compositions, for example by Franz Gleißner and Johann Anton André (published in 1833), but it

118-510: A Mozart Edition , a series of 16 vinyl box sets issued in 1979. They purposely did not use the title of Complete Mozart Edition as it obviously was not a complete catalogue of his works. The series consisted of his main works only, although all of his operas, orchestral and chamber works were included. Due to the fact that it was released earlier than the Complete Edition , Philips did not have that many recordings at their disposal, and quite

177-495: A half cadence on the dominant . The Kyrie follows without pause ( attacca ). It is a double fugue on the famous theme of the cross (connecting the four notes shows the shape of the cross) used by many composers, such as Bach, Handel, and Haydn. The counter-subject comes from the final chorus of the Dettingen Anthem, HWV 265. The first three measures of the altos and basses are shown below. The contrapuntal motifs of

236-564: A complete index of all the musical works following the Köchel catalogue . This set is not to be confused with the similar complete edition (on 170 CDs) by Brilliant Classics entitled Complete Works . In addition, a boxed set entitled The Best of the Complete Mozart Edition was also released on November 14, 1995. This set contains 25 compact discs and represents a selection of the 1990–91 or 2000 sets. Philips had previously released

295-540: A few of the recordings in the Complete Edition were recorded specifically for it. The artwork for all 45 boxes was designed by Pet Halmen  [ de ] , directed by Estelle Kercher and photographed by Christine Woidich. The designs focus on minimalism, with small objects that represent the music included in each volume (i.e. trumpet for wind music, piano for piano concertos, violin for violin sonatas and horn for wind concertos). Miniature figurines and dolls were also incorporated, which were all brought together in

354-468: A jewel case, The Complete Mozart Edition , between 1990 and 1991. A selection of 25 CDs from this set, The Best of the Complete Mozart Edition , was published in 1995. The full selection was then released again in 17 box sets as The Compact Complete Mozart Edition in 2000. The Philips collection was made with recordings from world-renowned artists and is of high audio quality. On the occasion of Mozart's 250th birthday in 2006, Brilliant Classics released

413-450: A lower-case letter suffix. In K some of these were, per intervening scholarship, returned to re-structured appendices: For example, Divertimento for Wind Octet in E ♭ was numbered K. Anh. 226 in K; Einstein placed it in the K main catalogue as K. 196e, between K. 196 and K. 197; K reassigned it again to the 'doubtful' appendix C as K. Anh. C 17.01; and K reverts to Einstein's assignment as K. 196e (though it

472-589: A partial list of his son's earlier works; Mozart's catalogue of his own compositions (begun in February 1784 with K. 449 ) allows relatively precise dating of many of his later works. The catalogue included the opening bars of each piece, known as an incipit . Köchel divided the corpus into a main chronology of 626 works, and five appendices ( Anhänge in German), abbreviated Anh. I–V which comprise: Since Köchel published his original catalogue in 1863 (now referred to as K),

531-418: A quartet, adopts the key of the submediant , B ♭ major (which can also be considered the relative of the subdominant of the key of D minor). The Sanctus's ending on a D major cadence necessitates a mediant jump to this new key. The Benedictus is constructed on three types of phrases : the (A) theme, which is first presented by the orchestra and reprised from m. 4 by the alto and from m. 6 by

590-789: A single box with 170 CDs, plus one with liner notes to all works and the libretti to vocal works, Mozart Complete Edition . In 2016, for the 225th anniversary of Mozart's death, Decca Classics and Deutsche Grammophon in partnership with the International Mozarteum Foundation released a box of 200 CDs with 2 hardback books with a new Mozart biography by Cliff Eisen and a newly developed short Köchel guide. Mozart 225: The New Complete Edition contains premiere performances of previously lost compositions and never recorded fragments, as well as key works in alternative versions and recordings of legendary historic performances. Requiem (Mozart) The Requiem in D minor , K. 626,

649-483: A solo tenor trombone, unaccompanied, in accordance with the usual German translation of the Latin tuba , Posaune (trombone). Two measures later, the bass soloist enters, imitating the same theme. At m. 7, there is a fermata , the only point in all the work at which a solo cadenza occurs. The final quarter notes of the bass soloist herald the arrival of the tenor, followed by the alto and soprano in dramatic fashion. On

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708-411: A stylized version of Mozart's signature (surname only) on both the 1991 and 2000 Editions . In 2016, Decca and Deutsche Grammophon partnered with the International Mozarteum Foundation and issued a new edition of Mozart's complete works on disc, Mozart 225 , to commemorate the 225th anniversary of his death. The edition was once the largest CD box set dedicated to one person in the world, until it

767-512: A surprising effect, the Rex syllables of the choir fall on the second beats of the measures, even though this is the "weak" beat. The choir then adopts the dotted rhythm of the orchestra, forming what Wolff calls baroque music 's form of " topos of the homage to the sovereign", or, more simply put, that this musical style is a standard form of salute to royalty, or, in this case, divinity. This movement consists of only 22 measures, but this short stretch

826-506: Is a Requiem Mass by Wolfgang Amadeus Mozart (1756–1791). Mozart composed part of the Requiem in Vienna in late 1791, but it was unfinished at his death on 5 December the same year. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg , who had commissioned the piece for a requiem service on 14 February 1792 to commemorate the first anniversary of

885-522: Is a 180-CD collection released in 1990–91 featuring all works by Wolfgang Amadeus Mozart (known at the set's publication) assembled by Philips Classics Records to commemorate the bicentenary of the death of Mozart (December 5, 1791 ). It has been re-released in 2000 in a modified version as the Complete Compact Mozart Edition . The Complete Mozart Edition comprises 180 compact discs arranged into 45 themed volumes. Each volume in

944-519: Is heard again on the text Juste Judex and ends on a hemiola in mm. 66–67. Then, the second theme is reused on ante diem rationis ; after the four measures of orchestra from 68 to 71, the first theme is developed alone. The recapitulation intervenes in m. 93. The initial structure reproduces itself with the first theme on the text Preces meae and then in m. 99 on Sed tu bonus . The second theme reappears one final time on m. 106 on Sed tu bonus and concludes with three hemiolas. The final measures of

1003-501: Is rich in variation: homophonic writing and contrapuntal choral passages alternate many times and finish on a quasi-unaccompanied choral cadence, landing on an open D chord (as seen previously in the Kyrie). At 130 measures, the Recordare ("Remember") is the work's longest movement, as well as the first in triple meter ( 4 ); the movement is a setting of no fewer than seven stanzas of

1062-457: Is still considered a doubtful work). Some works in Anh. A have been identified since 1965 as by Leopold Mozart. Many works in Anh. C have since been more reliably assigned to other composers, or to Mozart himself. To maintain as much of the original K-numbering of the list as possible, while re-ordering in the revised, chronological sequence, letters were added to the new numbers. The following list shows

1121-420: Is sung by the alto and bass (from m. 14), followed by the soprano and tenor (from m. 20). Each time, the theme concludes with a hemiola (mm. 18–19 and 24–25). The second theme arrives on Ne me perdas , in which the accompaniment contrasts with that of the first theme. Instead of descending scales, the accompaniment is limited to repeated chords. This exposition concludes with four orchestral measures based on

1180-526: The Dies irae . The form of this piece is somewhat similar to sonata form , with an exposition around two themes ( mm. 1–37), a development of two themes (mm. 38–92) and a recapitulation (mm. 93–98). In the first 13 measures, the basset horns are the first to present the first theme, clearly inspired by Wilhelm Friedemann Bach 's Sinfonia in D Minor, the theme is enriched by a magnificent counterpoint by cellos in descending scales that are reprised throughout

1239-443: The Complete Compact Mozart Edition , was released in 2000. It consists of 17 individual boxed sets. This version also contains stripped-down versions of the booklets that accompanied the original series. The Complete Mozart Edition and The Complete Compact Mozart Edition are both accompanied by a 200-page booklet which presents a condensed biography of Mozart with many photographs, describes in detail all boxes content and contains

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1298-511: The Last Judgment ). This material is repeated with harmonic development before the texture suddenly drops to a trembling unison figure with more tremolo strings evocatively painting the " Quantus tremor " text. Mozart's textual inspiration is again apparent in the Tuba mirum ("Hark, the trumpet") movement, which is introduced with a sequence of three notes in arpeggio , played in B ♭ major by

1357-403: The counter-melody of the first theme (mm. 34–37). The development of these two themes begins in m. 38 on Quaerens me ; the second theme is not recognizable except by the structure of its accompaniment. At m. 46, it is the first theme that is developed beginning from Tantus labor and concludes with two measures of hemiola at mm. 50–51. After two orchestral bars (mm. 52–53), the first theme

1416-432: The counterpoint of the basset horns mixes with the line of the cello. The rest of the movement consists of variations on this writing. At m. 23, phrase (A) is reprised on a F pedal and introduces a recapitulation of the primary theme from the bass and tenor from mm. 28 and 30, respectively. Phrase (B) follows at m. 33, although without the broken cadence, then repeats at m. 38 with the broken cadence once more. This carries

1475-866: The musicologist Simon P. Keefe , Süssmayr likely referenced one of Mozart's earlier Masses, Mass in C major, K. 220 "Sparrow" in completing this movement. Süssmayr here reuses Mozart's first two movements, almost exactly note for note, with wording corresponding to this part of the liturgy. Requiem aeternam: Requiem aeternam dona eis, Domine, 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. Kyrie eleison: Kyrie, eleison. Christe, eleison. Kyrie, eleison. Dies irae: Dies irae, dies illa The Complete Mozart Edition The Complete Mozart Edition

1534-478: The 1991 Edition (with Herbert Kegel ). The 2016 Edition also features many works that were not included in the 1991 Edition , such as his doubtful, spurious or incomplete works. One of the most significant discoveries was in the preparation for Mozart 225 when the German composer and musicologist Timo Jouko Herrmann discovered the cantata Per la ricuperata salute di Ofelia , K. 477a, which until its discovery

1593-533: The Lacrymosa. The trombones then announce the entry of the choir, which breaks into the theme, with the basses alone for the first measure, followed by imitation by the other parts. The chords play off syncopated and staggered structures in the accompaniment, thus underlining the solemn and steady nature of the music. A soprano solo is sung to the Te decet hymnus text in the tonus peregrinus . The choir continues, repeating

1652-465: The Last Judgment) is heard sotto voce , forte and then piano to bring the movement finally into a crescendo into a perfect cadence . A descending melody composed of dotted notes is played by the orchestra to announce the Rex tremendae majestatis ("King of tremendous majesty", i.e., God ), who is called by powerful cries from the choir on the syllable Rex during the orchestra's pauses. For

1711-505: The Sequentia, but Süssmayr did not do so in his completion. The following table shows for the eight sections in Süssmayr's completion with their subdivisions: the title, vocal parts (solo soprano ( S ), alto ( A ), tenor ( T ) and bass ( B ) [in bold ] and four-part choir SATB ), tempo , key , and meter . The Requiem begins with a seven-measure instrumental introduction , in which

1770-483: The artwork of the final volume. The artwork for the Complete Compact Mozart Edition consisted of photographs depicting different architectural designs and details, taken by Matthew Weinreb throughout Austria, Germany, Italy and Czechoslovakia. The 180 disc box set containing all 17 volumes of the 2000 Edition features an upwards panoramic view of the interior of the Royal Opera House . They also incorporated

1829-520: The blessed") with an arpeggiated accompaniment in strings. Finally, in the following stanza ( Oro supplex et acclinis ), there is a striking modulation from A minor to A ♭ minor. This spectacular descent from the opening key is repeated, now modulating to the key of F major. A final dominant seventh chord leads to the Lacrymosa . The chords begin piano on a rocking rhythm in 8 , intercut with quarter rests, which will be reprised by

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1888-410: The choir after two measures, on Lacrimosa dies illa ("This tearful day"). Then, after two measures, the sopranos begin a diatonic progression, in disjointed eighth-notes on the text resurget ("will be reborn"), then legato and chromatic on a powerful crescendo . The choir is forte by m. 8, at which point Mozart's contribution to the movement is interrupted by his death. Süssmayr brings

1947-569: The choir to a reference of the Introit and ends on an Amen cadence . Discovery of a fragmentary Amen fugue in Mozart's hand has led to speculation that it may have been intended for the Requiem. Indeed, many modern completions (such as Levin's ) complete Mozart's fragment. Some sections of this movement are quoted in the Requiem Mass of Franz von Suppé , who was a great admirer of Mozart. Ray Robinson,

2006-435: The classical period become archaic, lending the piece an ancient air. The Dies irae ("Day of Wrath") opens with a show of orchestral and choral might with tremolo strings, syncopated figures and repeated chords in the brass. A rising chromatic scurry of sixteenth-notes leads into a chromatically rising harmonic progression with the chorus singing " Quantus tremor est futurus " ("what trembling there will be" in reference to

2065-658: The commission from a mysterious messenger who did not reveal the commissioner's identity, and that Mozart came to believe that he was writing the Requiem for his own funeral. In addition to the Süssmayr version, a number of alternative completions have been developed by composers and musicologists in the 20th and 21st centuries. The Requiem is scored for 2 basset horns in F, 2 bassoons , 2 trumpets in D, 3 trombones ( alto , tenor , and bass ), timpani (2 drums), violins , viola , and basso continuo ( cello , double bass , and organ ). The basset horn parts are sometimes played on conventional BB or A clarinets and sometimes

2124-466: The dating of Mozart's compositions has been subject to constant revision. Many more pieces have since been found, re-dated, re-attributed and re-numbered, requiring three revised editions of the catalogue. Subsequent editions – especially the third edition (K) by Alfred Einstein (1937), and the sixth edition (K) by Franz Giegling , Gerd Sievers  [ de ] , and Alexander Weinmann  [ de ] (1964) – have reflected attempts to arrange

2183-554: The death of his wife Anna at the age of 20 on 14 February 1791. The autograph manuscript shows the finished and orchestrated movement of Introit in Mozart's hand, and detailed drafts of the Kyrie and the sequence of Dies irae as far as the first eight bars of the Lacrimosa , and the Offertory . It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for

2242-752: The four soloists enter a canon on Sed signifer sanctus Michael , switching between minor (in ascent) and major (in descent). Between these thematic passages are forte phrases where the choir enters, often in unison and dotted rhythm, such as on Rex gloriae ("King of glory") or de ore leonis ("[Deliver them] from the mouth of the lion"). Two choral fugues follow, on ne absorbeat eas tartarus, ne cadant in obscurum ("may Tartarus not absorb them, nor may they fall into darkness") and Quam olim Abrahae promisisti et semini eius ("What once to Abraham you promised and to his seed"). The movement concludes homophonically in G major. The Hostias opens in E ♭ major in 4 , with fluid vocals. After 20 measures,

2301-420: The growing list of works in a more accurate chronological order, according to various levels of scholarship. Because of the confusing renumbering between versions, the ninth edition (K) by Neal Zaslaw (2024) abandoned the chronological order: all works that were included in a previous edition return to the oldest number they were given, and works newly included in the ninth edition were given numbers past 626, all

2360-435: The latest edition (K), Köchel's original designation (K), and the sixth edition (K). Other addenda and supplements to the catalogue are marked Anhang . (This has been abbreviated to 'Anh.' in the list below.) Recordings of the complete works of Mozart have been issued three times: on the occasion of the bicentenary of Mozart's death in 1991, Philips Classics Records released a 180-CD collection in 45 box sets and each CD in

2419-518: The movement into the dominant of G minor, followed by a reprise of the Quam olim Abrahae promisisti et semini eius fugue. The words "Quam olim da capo" are likely to have been the last Mozart wrote; this portion of the manuscript has been missing since it was stolen at 1958 World's Fair in Brussels by a person whose identity remains unknown. The Sanctus is the first movement written entirely by Süssmayr, and

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2478-506: The movement recede to simple orchestral descending contrapuntal scales. The Confutatis ("From the accursed") begins with a rhythmic and dynamic sequence of strong contrasts and surprising harmonic turns. Accompanied by the basso continuo , the tenors and basses burst into a forte vision of the infernal, on a dotted rhythm. The accompaniment then ceases alongside the tenors and basses, and the sopranos and altos enter softly and sotto voce , singing Voca me cum benedictis ("Call upon me with

2537-403: The movement switches to an alternation of forte and piano exclamations of the choir, while progressing from B ♭ major towards B ♭ minor, then F major, D ♭ major, A ♭ major, F minor, C minor and E ♭ major. An overtaking chromatic melody on Fac eas, Domine, de morte transire ad vitam ("Make them, O Lord, cross over from death to life") finally carries

2596-603: The movement to a new Mozartian cadence in mm. 47 to 49 and concludes on phrase (C), which reintroduces the Hosanna fugue from the Sanctus movement, in the new key of the Benedictus. Homophony dominates the Agnus Dei. The text is repeated three times, always with chromatic melodies and harmonic reversals, going from D minor to F major, C major, and finally B ♭ major. According to

2655-419: The movement. This counterpoint of the first theme prolongs the orchestral introduction with chords, recalling the beginning of the work and its rhythmic and melodic shiftings (the first basset horn begins a measure after the second but a tone higher, the first violins are likewise in sync with the second violins but a quarter note shifted, etc.). The introduction is followed by the vocal soloists; their first theme

2714-640: The music scholar and president (from 1969 to 1987) of the Westminster Choir College , suggests that Süssmayr used materials from Credo of one of Mozart's earlier Masses, Mass in C major, K. 220 "Sparrow" in completing this movement. The first movement of the Offertorium , the Domine Jesu, begins on a piano theme consisting of an ascending progression on a G minor triad . This theme will later be varied in various keys, before returning to G minor when

2773-527: The old Philips one (which at that time had become joint with the Universal Music Group ). For example, they used Trevor Pinnock 's cycle of Mozart's symphonies with The English Concert , originally on the Archiv Produktion label. They did use a majority of the same recordings for the earlier operas ( Leopold Hager 's Deutsche Grammophon recordings), as well as many of his sacred works included in

2832-499: The only movement of the Requiem to have a key signature with sharps: D major, generally used for the entry of trumpets in the Baroque era. After a succinct glorification of the Lord follows a short fugue in 4 on Hosanna in excelsis ("Glory [to God] in the highest"), noted for its syncopated rhythm, and for its motivic similarity to the Quam olim Abrahae fugue. The Benedictus,

2891-469: The psalmtone while singing the Exaudi orationem meam section. Then, the principal theme is treated by the choir and the orchestra in downward-gliding sixteenth-notes. The courses of the melodies, whether held up or moving down, change and interlace amongst themselves, while passages in counterpoint and in unison (e.g., Et lux perpetua ) alternate; all this creates the charm of this movement, which finishes with

2950-448: The related alto clarinet , even though this changes the sonority . The vocal forces consist of soprano , contralto , tenor , and bass soloists and an SATB mixed choir . Süssmayr's completion divides the Requiem into eight sections: All sections from the Sanctus onwards are not present in Mozart's manuscript fragment. Mozart may have intended to include the Amen fugue at the end of

3009-530: The remainder; he later claimed the Sanctus and Benedictus and the Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze . She was responsible for a number of stories surrounding the composition of the work, including the claims that Mozart received

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3068-473: The series is accompanied by a deluxe booklet with detailed information about the works, with many illustrations. Indicating the significance of this particular series, the words of the accompanying Compactotheque state, "...After the complete Shakespeare , the complete Goethe , or the complete Molière in book form, here is the Complete Mozart on discs." A modified version of The Complete Mozart Edition ,

3127-422: The soprano. The word benedictus is held, which stands in opposition with the (B) phrase, which is first seen at m. 10, also on the word benedictus but with a quick and chopped-up rhythm. The phrase develops and rebounds at m. 15 with a broken cadence . The third phrase, (C), is a solemn ringing where the winds respond to the chords with a staggering harmony, as shown in a Mozartian cadence at mm. 21 and 22, where

3186-423: The text Cum vix justus sit securus ("When only barely may the just one be secure"), there is a switch to a homophonic segment sung by the quartet at the same time, articulating, without accompaniment, the cum and vix on the "strong" (1st and 3rd), then on the "weak" (2nd and 4th) beats, with the violins and continuo responding each time; this "interruption" (which one may interpret as the interruption preceding

3245-422: The theme of this fugue include variations on the two themes of the Introit. At first, upward diatonic series of sixteenth-notes are replaced by chromatic series, which has the effect of augmenting the intensity. This passage shows itself to be a bit demanding in the upper voices, particularly for the soprano voice. A final portion in a slower (Adagio) tempo ends on an "empty" fifth, a construction which had during

3304-425: The way to 721. A major shortcoming of K was that there was no room to expand the strictly sequential numbering in the main catalogue to allow for any new discoveries or further reassessment of existing works. For the 1937 edition (K) Einstein (following the analyses of Théodore de Wyzewa and Georges de St. Foix) reassigned some works from the original K appendices into the main catalogue by interpolating numbers with

3363-463: The woodwinds (first bassoons, then basset horns) present the principal theme of the work in imitative counterpoint . The first five measures of this passage (without the accompaniment) are shown below. This theme is modeled after Handel 's The ways of Zion do mourn , HWV 264. Many parts of the work make reference to this passage, notably in the coloratura in the Kyrie fugue and in the conclusion of

3422-526: Was not until 1862 that Ludwig von Köchel succeeded in producing a comprehensive listing. Köchel's 551-page catalogue was titled Chronologisch-thematisches Verzeichniss sämmtlicher Tonwerke W. A. Mozart's ( Chronological-thematic Catalogue of the Complete Musical Works of W. A. Mozart ). Köchel attempted to arrange the works in chronological order, but many compositions written before 1784 could only be estimated, although Leopold Mozart had compiled

3481-566: Was overtaken by Deutsche Grammophon's Karajan Edition . Consisting of 200 discs, it contains all of Mozart's known works, including those of fragmentary, doubtful or spurious status. It also contains two hard-back books: a biography written by the Canadian Mozart scholar Cliff Eisen and a guide to the music. There are many similarities and differences between the 1991 Philips Edition and Mozart 225 . Decca and Deutsche Grammophon chose to use recordings from their own catalogue instead of from

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