Sources of Music

Mozart Requiem

W.A. Mozart
Requiem K.626

Mozart after writing The Magic Flute opera initiation note in the catalogue of the works on Nov. 15, 1991 (he died on December 5) as last work to identify, Masonic his cantata "The Praise of friendship."
But Mozart also wrote a few days before dying this text:
"Enlaçons our hands, my brethren, (…) in the glow sound of our joy. And (that) (…) our chain étreigne the earth as a whole. Must provide by singing joyous full recognition to the Creator, whose omnipotence pleases us: the consecration is completed, may also be completed on work which is devoted our hearts! Vénérez virtue and humanity, learn love for self and others, that it is always the first duty. So (…) only (…) ruissellera light. "
A Mozart therefore, totally detached goods to the world, shot entirely to the love of the "Other" and that because of his humanistic ideas Masonic, is not one to give a final blessing before his last journey ...
But what about all the Requiem?
Everyone knows that this work is an order made by an amateur musician who wanted to appropriate, ie the play by pretending to be the composer.
Mozart certainly need money, but it is long accustomed to this uncertain condition in material terms inherent in the status of artist.
It therefore accepts the proposal, but to survive…. But he knows, the various letters show that his life is coming to an end. Surviving therefore does biggest thing.
He regretted in particular to his family:
"I need to leave my family, my poor child, when I would be able to best ensure their happiness."
But as for his art:
"Now we must start (…), now that I can live quiet!
Leave my art, now that I am no longer a slave to fashion, no longer shackled by speculators, I could follow the impulses of my inspirations, and write independently me what my heart dictates "
It would not end this Requiem, first because it is occupied by other compostions, but also perhaps because if he had done so, this work, he knows brilliant, eluded him for 'eternity.
And then he also knows that this Requiem will be played after his death for him by his "brothers masons musicians" and the conclusion is already dying a little…
It does not complete it in writing sufficiently so that everyone appreciates the dazzling his inspiration.
The theme of entry (eternam Requiem), or Lacrimosa Dies irae appear to be enrolled in music history forever.
The work is not, as some commentators have been writing, the rule of fragments and sketches to the death of Mozart.
Everything that is written is perfectly clear, without erasures, without hesitation, most states.
The clarity of calligraphy pensive when leaving knows what state of fatigue is Mozart at its composition.
Mozart composed until the end of Hostias, leaving still incomplete the Lacrimosa, the Sanctus, the Benedictus and the Agnus Dei who do qu'ébauchés.
Various hands more or less interested, more or less competent, are working to finish the interminable. Few risks are taken. The instruments of the orchestra routinely double parties choral already written for the most part. The three pieces incomplete listed above have been completed as best they could, sometimes with excerpts from other existing works by Mozart. The Requiem ends with the same music just the beginning, only the words change. A good watch, Mozart is everywhere, it charted a frame sufficiently clear so that we can understand its great inspiration.
In fact, he finished his work, but not enough to be in the body.
Sources of Music, under the direction of Jacques Chalmeau, resurfaced a new edition of the Requiem by attempting to remove inappropriate additions that seemed overly away the work of the original manuscript.
So this issue does not include trombones except in the beginning of Tuba mirum, or the tenor trombone solo (although present in the autograph) symbolizes the call of death.
Indeed, at no time, Mozart writes parts of trombones in the nomenclature of the orchestra. Only four agreements preceding the entry of low early Requiem aeternam are specified with three trombones. Only one place in the score, therefore, no one can say whether the writing of Mozart, and at no time in the nomenclature.
We have complied with this strange instrumentation: 2 basset horns, bassoons 2, the choir and string quintet, instrumentation which no doubt had been designed to be played in the Masonic lodges that Mozart frequented assiduously.
The timbale and what was then called the "Clarini" (baroque trumpets), do sporadically for rhythmically punctuate the musical discourse.
There is no orchestration "independent".
The center of the Requiem lies in the chorus, and thus in the words. As such, the first fugue Kyrie Eleison, facetious ultimate provocation of poor Mozart, diffuse incredible energy which alone is a wonderful message of hope for future generations face the challenges of the world.