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The melody used for both parts is based on the German plainchant Meine Seele erhebt den Herren. The choir continues, repeating the psalmtone while singing the Exaudi orationem meam section. A soprano solo is sung to the Te decet hymnus text in the tonus peregrinus. The chords play off syncopated and staggered structures in the accompaniment, thus underlining the solemn and steady nature of the music. 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. Many parts of the work make reference to this passage, notably in the coloratura in the Kyrie fugue and in the conclusion of the Lacrymosa. This theme is modeled after Handel's The ways of Zion do mourn, HWV 264. 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) and four-part choir SATB), tempo, key, and meter.Īudio playback is not supported in your browser. Mozart may have intended to include the Amen fugue at the end of the Sequentia, but Süssmayr did not do so in his completion. The vocal forces consist of soprano, contralto, tenor, and bass soloists and an SATB mixed choir.Īll sections from the Sanctus onwards are not present in Mozart's manuscript fragment. The basset horn parts are sometimes played on conventional clarinets, even though this changes the sonority. 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).
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626, is a requiem mass by Wolfgang Amadeus Mozart (1756–1791).