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Requiem in D Minor

bach

classical

Mozart

J.S.Bach - Concerto Nr. 5  in F minor, BWV 1056
II. Largo
London Chamber Group - Conductor: Harry Curtis
Piano: Olaf Eliasson


J.S.Bach - Keyboard concerto Nr. 5  in F minor - Olaf Eliasson - II. Largo

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Requiem in D Minor K. 626: Dies Irae (Instrumental)

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Requiem in D Minor K. 626: Rex Tremendae (Instrumental)

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Requiem in D Minor K. 626: Recordare (Instrumental)

Requiem in D Minor K. 626: Tuba Mirum (Instrumental)

Twitter

Requiem in D Minor K. 626: I. Introitus - Requiem, II. Kyrie, III. Sequentia (Instrumental)

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The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a Requiem Mass to commemorate the February 14 anniversary of his wife's death.

The Süssmayr completion of the Requiem is divided into fourteen movements, with the following structure:

I. Introitus
Requiem (choir and soprano solo) (D minor)
Kyrie, Bruno Walter, 1956.
II. Kyrie (choir) (D minor)
III. Sequentia (text based on sections of the Dies Irae)
Dies irae (choir) (D minor)
Tuba mirum (soprano, contralto, tenor and bass solo) (B-flat major)
Rex tremendae (choir) (G minor–D minor)
Recordare (soprano, contralto, tenor and bass solo) (F major)
Confutatis (choir) (A minor–F major, last chord V of D minor)
Lacrimosa (choir) (D minor)
IV. Offertorium
Domine Jesu (choir with solo quartet) (G minor)
Hostias (choir) (E-flat major–G minor)
V. Sanctus (choir) (D major)
VI. Benedictus (solo quartet and choir) (B-flat major)
VII. Agnus Dei (choir) (D minor–B-flat major)
VIII. Communio
Lux aeterna (soprano solo and choir) (B-flat major–D minor)

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - The Essential Collection

Requiem in D Minor K. 626: Hostias (Instrumental)

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Requiem in D Minor K. 626: VI. Benedictus (Instrumental)

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Quartet No. 17 in B-Flat Major, L. 458 "The Hunt": I. Allegro Vivace Assai

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Wolfgang Amadeus Mozart's String Quartet No. 15 in D minor, K. 421/417b is the second of the Quartets dedicated to Haydn and the only one of the set in a minor key. 

Though undated in the autograph, it is believed to have been completed in 1783, while his wife Constanze Mozart was in labour with her first child Raimund. Constanze stated that the rising string figures in the second movement corresponded to her cries from the other room. 

It is in four movements:

Allegro moderato
Andante (F major)
Menuetto and Trio (the latter in D major). Allegretto
Allegretto ma non troppo

The first movement is characterized by a sharp contrast between the aperiodicity of the first subject group, characterized by Arnold Schoenberg as "prose-like," and the "wholly periodic" second subject group. In the Andante and the Minuet, "normal expectations of phraseology are confounded."

The main part of the Minuet is in minuet sonata form,[ while "the contrasting major-mode Trio ... is ... almost embarrassingly lightweight on its own ... [but] makes a wonderful foil to the darker character of the Minuet."The last movement is a set of variations.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Quartet No. 15 in D-Minor, K. 421: I. Allegro Moderato

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The Piano Sonata No. 11 in A major, K. 331 (300i), by Wolfgang Amadeus Mozart is a piano sonata in three movements. It is uncertain where and when Mozart composed the sonata; however, Vienna or Salzburg around 1783 is currently thought to be most likely (Paris and dates as far back as 1778 have also been suggested). The sonata was published by Artaria in 1784, alongside Nos. 10 and 12 (K. 330 and K. 332).

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Since the opening movement of this sonata is a theme and variation, Mozart defied the convention of beginning a sonata with an allegro movement in sonata form. The theme consists of two 8 measure sections, each repeated, a structure shared by each variation. The tempo marking is "Andante Grazioso (Walking pace, gracefully)". It is in the key of A major.

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Piano Sonata No.11 In A Major - KV 331. I. Andante Grazioso

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Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon in an early arrangement for piano.

The four movements are arranged in the traditional symphonic form of the Classical era:

Allegro vivace, 4/4
Andante cantabile, 3/4 in F major
Menuetto: Allegretto - Trio, 3/4
Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

The third movement, a Menuetto marked allegretto is similar to a Ländler, a popular Austrian folk dance form. Midway through the movement there is a chromatic progression in which sparse imitative textures are presented by the woodwinds (bars 43 to 51) before the full orchestra returns. 

In the trio section of the movement, the four-note figure that will form the main theme of the last movement appears prominently (bars 68 to 71), but on the seventh degree of the scale rather than the first, and in a minor key rather than a major, giving it a very different character.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Mozart - Symphonies, Sonatas, Serenades, Concertos & Overtures

Symphony No. 41 in C-Major, K. 551: ‘Jupiter’ III. Menuetto, Allegretto

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Wolfgang Amadeus Mozart completed his Symphony No. 41 in C major, K. 551, on 10 August 1788. It was the last symphony that he composed, and also the longest.

The work is nicknamed the Jupiter Symphony. This name stems not from Mozart but rather was likely coined by the impresario Johann Peter Salomon in an early arrangement for piano.

The four movements are arranged in the traditional symphonic form of the Classical era:

Allegro vivace, 4/4
Andante cantabile, 3/4 in F major
Menuetto: Allegretto - Trio, 3/4
Molto allegro, 2/2

The symphony typically has a duration of about 33 minutes.

The second movement, also in sonata form, is a sarabande of the French type in F major similar to those found in the keyboard suites of Johann Sebastian Bach.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No. 41 in C-Major, K. 551: ‘Jupiter’ II. Andante cantabile

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Wolfgang Amadeus Mozart wrote his Symphony No. 40 in G minor, KV. 550, in 1788. It is sometimes referred to as the "Great G minor symphony," to distinguish it from the "Little G minor symphony," No. 25. The two are the only extant minor key symphonies Mozart wrote.

The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):

Molto allegro, 2/2
Andante in E-flat major, 6/8
Menuetto. Allegretto – Trio, 3/4
Finale. Allegro assai, 2/2

The fourth movement opens with a series of rapidly ascending notes outlining the tonic triad illustrating what is commonly referred to as the Mannheim rocket.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.40 in G-Minor, K. 550: ‘Great’  IV. Finale, Allegro Assai

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Symphony No. 35 in D major, K. 385, was composed by Wolfgang Amadeus Mozart in 1782 and is also called the Haffner Symphony. It was commissioned by the Haffners, a prominent Salzburg family, for the occasion of Sigmund Haffner's ennoblement. 

The Haffner Symphony should not be confused with the eight-movement Haffner Serenade, another piece Mozart wrote on commission from the same family in 1776.

I. Allegro con spirito

When communicating with his father Leopold, Mozart stated that this movement was to be played with fire. The movement is in sonata form with a short development section. The exposition commences with no introduction with all instruments in unison, this opening motive is quite powerful – the result of cleverly using sharp dotted rhythms to arrest the listener's attention.

The second subject is similar in melodic material and rhythm to the first subject, recalling the monothematic sonata movements of Haydn (e.g. Symphony No. 104).

Mozart places no repeat signs at the end of the exposition. This goes against the standard sonata form convention of the day, but is something that he also does in the three big symphonies which precede the Haffner (No's. 31, 33 and 34).

The development begins with an A unison as a transition from A major to D minor (bars 95–104). After three beats silence, Mozart shifts from the dominant of D minor to an F♯ chord, and then begins a series of rapid chord changes, namely – F♯7 (bar 106), B (bar 109), B minor (bar 110), C♯7 (bar 110). Finally, using C♯7 as the dominant for F♯ minor, Mozart briefly delves in this key (bars 111–120) before using a string of consecutive dominant 7ths (bars 120–129) to work back to the dominant 7th of D major in preparation for the recapitulation. 

The recapitulation is similar to the exposition with the exception of expected differences in the transition passage. This movement closes with a short four-bar coda.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

Symphony No.35 in D-Major, K. 385: ‘Haffner’ I. Allegro con Spirito

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Mozart's Clarinet concerto in A major, K. 622 was written in 1791, shortly before Mozart's death, for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast–slow–fast form:

Allegro (in A major and in sonata form)
Adagio (in D major and in ternary form)
Rondo: Allegro (in A major and in rondo form)

It was also one of Mozart's final completed works, and his final purely instrumental work (he died less than two months after its October premiere). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The closing rondo has a cheerful refrain, with episodes either echoing this mood or recalling the darker colours of the first movement. It is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most notably the A major Piano Concerto, K. 488.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

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Concerto for Clarinet & Orchestra In A-Major, KV. 622: III. Rondo, Allegro

The Piano Concerto No. 24 in C Minor, K. 491, is a concerto for piano and orchestra. 

Mozart composed the concerto in the winter of 1785–1786, finishing it on 24 March 1786, three weeks after the completion of the Piano Concerto No. 23 (K. 488) in A Major. He premiered the work in early April 1786 at the Burgtheater in Vienna.

The concerto consists of three movements. The first, Allegro, is in sonata form and is the longest opening movement for a concerto that Mozart had hitherto composed. The second movement, Larghetto, is in the relative major of E flat and features a strikingly simple principal theme. The final movement, Allegretto, returns to the home key of C minor and presents a theme followed by eight variations.

The work is one of Mozart's most advanced compositions in the concerto genre. Its early admirers included Ludwig van Beethoven and Johannes Brahms. Musicologist Arthur Hutchings considered it to be Mozart's greatest piano concerto.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

Piano Concerto No. 24 In C-Minor, KV 491: I. Allegro

My keyboard rendition of Mozart's Symphony No. 40

Symphony No 40 Mozart

wolfgang amadeus mozart - requiem es una pista La Misa de Réquiem en re menor, K. 626, es una obra de Wolfgang Amadeus Mozart basada en los textos latinos para el Réquiem, es decir, el acto litúrgico católico celebrado tras el fallecimiento de una persona; se trata de la decimonovena y última misa escrita por Mozart. Mozart murió antes de terminarla, en 1791. En junio de 1791, Mozart ofreció en Viena uno de sus últimos conciertos públicos; tocó el Concierto para piano n.º 27 (KV 595). Su último hijo, Franz Xaver Wolfgang, nació el 26 de julio.
Pocos días antes se presentó en su casa un desconocido, vestido de gris, que rehusó identificarse y que encargó a Mozart la composición de un réquiem. Le dio un adelanto y quedaron en que regresaría en un mes. Pero el compositor fue llamado desde Praga para escribir la ópera La clemencia de Tito, para festejar la coronación de Leopoldo II.
Cuando subía con su esposa al carruaje que los llevaría a esa ciudad, el desconocido se presentó otra vez, preguntando por su encargo. Esto sobrecogió al compositor.
Más tarde se supo que aquel sombrío personaje (al parecer, llamado Franz Anton Leitgeb) era un enviado del conde Franz von Walsegg, músico aficionado cuya esposa había fallecido. El viudo deseaba que Mozart compusiese la misa de réquiem para los funerales de su mujer, pero quería hacer creer a los demás que la obra era suya y por eso permanecía en el anonimato.
Según la leyenda, Mozart, obsesionado con la idea de la muerte, desde la de su padre, debilitado por la fatiga y la enfermedad, muy sensible a lo sobrenatural por su vinculación con la francmasonería[cita requerida] e impresionado por el aspecto del enviado, terminó por creer que éste era un mensajero del Destino y que el réquiem que iba a componer sería para su propio funeral.
Mozart, al morir, consiguió terminar tan solo tres secciones con el coro y órgano completo: Introitus, Kyrie y Dies Irae. Del resto de la Secuencia dejó las partes instrumentales, el coro, voces solistas y el cifrado del bajo y órgano incompletos, además de anotaciones para su discípulo Franz Xaver Süssmayr. También había indicaciones instrumentales y corales en el Domine Jesu y en el Agnus Dei. No había dejado nada escrito para el Sanctus ni el Communio. Aunque en un principio Constanze, su viuda, pidió al músico de la Corte Joseph Leopold Eybler que terminase el Réquiem, fue su discípulo Süssmayer quien lo acabó (siguiendo las directrices de Mozart), completando las partes faltantes de la instrumentación, agregando música en donde faltaba y componiendo íntegramente el Sanctus. Para el Communio, simplemente utilizó los temas del Introito y el Kyrie, a manera de reexposición, para darle cierta coherencia a la obra.
Una de las principales influencias de esta obra puede hallarse en el Réquiem de Michael Haydn compuesto en el año 1771 para la muerte del arzobispo de Salzburgo S. C. Schrattenbach.
Aunque al parecer se interpretaron extractos del Réquiem en una misa en memoria de Mozart celebrada el 10 de diciembre de 1791, el estreno de la obra completa se produjo en Viena el 2 de enero de 1793 en un concierto en beneficio de la viuda del músico austríaco, (Constanze Weber). Fue interpretado de nuevo el 14 de diciembre de 1793, durante la misa que conmemoraba la muerte de la esposa del conde Walsegg y bajo la dirección del propio conde.
Después de esta interpretación, el conde Walsseg realizó una reducción para quinteto de cuerda, pero la obra no volvió a interpretarse bajo su patrocinio.

Wolfgang Amadeus Mozart - Requiem

Symphony No. 40 in G minor, K. 550 -Mozart

New England Conservatory Chamber Orchestra performs Mozart's Divertimento for Oboe, 2 Horns and Strings no 11 in D major, K 251. Recorded live in Jordan Hall February 27, 2013.

Mozart: Divertimento for Oboe  Horns and Strings - Allegro molto

Official MOZART artist persona of Tom Connell (PRS writer).
IPIs: 
•Tom Connell 671594418 
• Mozart 1187246925 
• Wolfgang Amadeus Mozart 1187246827 
USCO: SR 809-097 (Wolfgang Amadeus Mozart, pseud 2017).
Modern recordings/arrangements by Tom Connell; not affiliated with historical estates/publishers.