The Completion of Mozart's Requiem Mass K.626: Who Finishes What?

Mozart's Requiem Mass in D minor K.626 is an enduring mystery in classical music history. Left unfinished at the time of his death in December 1791, this haunting composition has captivated countless musicians, historians, and enthusiasts for over 200 years. The question of who completed what parts of the Requiem has long been a subject of debate and speculation.

The Parts Mozart Completed

Mozart himself only had the opportunity to complete a significant portion of the Requiem. The first two sections—Introitus, which includes Requiem aeternam, and Kyrie, which also features some fragments and verbal suggestions for the Sequentia from Dies irae to Confutatis, and the first eight bars of Lacrimosa, and fragments for the Offertorium, including the Domine Jesu and Hostias—bear his unmistakable hand. Unfortunately, the parts that remain unfinished include the Sanctus, Benedictus, Agnus Dei, and the concluding Communio. These sections have sparked much curiosity about who might have taken on the challenge to complete them.

Who Finished Mozart's Requiem?

The most commonly credited individual for finishing the Requiem is Franz Xaver Süssmayr, a student of Mozart. Süssmayr completed the work by filling in the missing sections, namely the Sequentia from Dies irae to Dona nobis pacem, which includes the Lacrimosa, and he also orchestrated parts of the piece. The contributions of Süssmayr significantly influenced the final form of the Requiem that is widely performed today.

Mozart's Memorandum and Eybler's Contribution

After Mozart's death, his widow Constanze initiated the process of completing the Requiem. She first asked Joseph Leopold Eybler, a colleague of Mozart. Eybler added some orchestration to Mozart's score before ultimately giving up on the project. Next in line was Franz Xaver Süssmayr, who accepted the challenge. Süssmayr's completed version was first performed in Vienna on 2 January 1793. Wikipedia provides a comprehensive account of this process:

“Mozart composed part of the Requiem in Vienna in late 1791 but it was unfinished at his death on December 5th of the same year. A completed version dated 1792 by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who commissioned the piece for a Requiem service to commemorate the anniversary of his wife's death on 14 February.”

The autograph manuscript of the Requiem shows the finished and orchestrated Introit in Mozart's hand and detailed drafts of the Kyrie and the sequence Dies Irae up to the first eight bars of the Lacrimosa movement and the Offertory. The extent to which Süssmayr may have relied on now lost correspondence or notes from Mozart is a matter of scholarly debate.

Modern Completions and Interpretations

In modern times, several others have attempted their own completions of Mozart's Requiem. These include: Florian Leiblt: A contemporary and close friend of Mozart, Leiblt's completion is noted for its adherence to Mozart's style and technique. William Flury: An early 20th-century composer, Flury's version is admired for its blend of Mozart's and his own compositional styles. Luigi Comezzi: A 19th-century Italian composer, Comezzi's version is characterized by a more Romantic interpretation of the piece. Each of these modern completions offers a unique perspective on Mozart's composition, providing listeners with diverse interpretations of his intentions and feelings as they were expressed in the unfinished sections of the Requiem.

Conclusion

Mozart's Requiem remains one of the greatest tragedies in music history. The partial completion by Franz Xaver Süssmayr and the ongoing efforts of modern composers to fill in the gaps only serve to deepen the appreciation and fascination with this masterpiece. Whether through the traditional performance of Süssmayr's version or through new and innovative completions, the Requiem continues to captivate audiences and inspire musicians more than two centuries after its inception.

Keywords: Mozart's Requiem, Franz Xaver Süssmayr, Unfinished Musical Masterpiece