The Enigma of Mozart's Requiem: Is It Fully His Composition?

The Requiem in D minor, K. 626 by Wolfgang Amadeus Mozart, is a profound and powerful musical work, but its final movements remain a source of debate and intrigue. Despite its apparent completion, many parts of the Requiem were not wholly composed by Mozart, leading to questions about the authenticity and integrity of the finished piece.

Did Mozart Complete the Requiem?

Wolfgang Amadeus Mozart, one of the most celebrated composers in history, left the Requiem in D minor, K. 626 unfinished at the time of his untimely death in December 1791. The piece was originally commissioned by Count Franz von Walsegg, a wealthy patron of the arts.

When Mozart passed away, he had only completed about 8 out of the 16 sections of the Requiem. This left the remaining sections, including the celebrated "Confutatis," "Lacrimosa," and "Agnus Dei," incomplete. The task of completing these sections fell to Franz Xaver Süssmayr, a student and occasional collaborator of Mozart.

Süssmayr's Contributions

Franz Xaver Süssmayr, driven by the commissioned nature of the work, undertook the task of finishing the Requiem. He used sketches and notes left by Mozart to complete the missing sections. Süssmayr's contributions have been both praised and criticized for their authenticity and integrity.

While the first eight sections of the Requiem are generally acknowledged as Mozart's work, the remaining sections have sparked much debate. According to many scholars and music historians, Süssmayr may have embellished or altered Mozart's notes in ways that went beyond mere completion. Some sections, such as the "Benedictus" and "Sanctus," have been attributed primarily to Süssmayr, even though they contain elements that may be of Mozart's design.

Analysis of Süssmayr's Work

Several features of the Requiem hint at the contributions of both Mozart and Süssmayr:

Lacrimosa: The section after bar 8 is generally considered Süssmayr’s addition. While the beginning of the "Lacrimosa" may be Mozart’s, the later parts show a different compositional style. Introitus, Sequenz, and Offertorio sections: These sections are unambiguously Mozart's work, having no significant alterations or additions by Süssmayr. Benedictus and Sanctus: Some music historians believe that the "Osanna" fugue and the entire "Sanctus" may be mostly Süssmayr's work, given the complexity and stark contrast to the rest of Mozart’s style. Agnus Dei: This section is attributed almost entirely to Süssmayr. While it is of decent quality for a composer of his time, its structure and style are distinctly different from the rest of the Requiem. Communio: This section is essentially a repeat of the Introitus, albeit with changed lyrics, making it Mozart's work.

Conclusion

The Requiem remains a testament to the collaboration and sometimes, the controversy, that can surround a piece left incomplete. The extent of Mozart's influence on the final movements will probably always remain a mystery. Mozart's last notes, just at the beginning of the "Lacrymosa," serve as a poignant reminder of the unfinished masterpiece he left behind.

The Requiem stands as a powerful example of how multiple hands can contribute to a piece, with the final results reflecting a complex blend of originality and modification. For music enthusiasts and scholars alike, the Requiem continues to be a subject of fascination and debate.

Final Thoughts

Despite the uncertainties, the Requiem remains one of Mozart's most influential and moving compositions. Whether it fully captures the composer's vision or incorporates the touch of another, its emotional depth and musical genius continue to captivate audiences and inspire new generations of musicians and composers.