The version by Süssmayr is the most commonly recorded and performed version of the work, with the completed Offertorium, Sanctus, Benedictus and Communio. Süssmayr continued writing the Requiem on Mozart's manuscript, and so it was never specified where Mozart stopped and Süssmayr started. Eybler's autograph is the only score of the original version of the Requiem, ending at the ninth bar of the Lacrimosa. He wrote out the existing parts that Mozart had written out prior to his death, and didn't go beyond the end of the ninth bar of the Lacrimosa. It is thought that his great respect for the late Mozart was too great. Constanze originally asked Joseph Eybler, but he couldn't. It was left unfinished at his death on 5 December 1791, and after his burial on 6 December, Constanze asked Franz Xaver Süssmayr to complete the remainder of the work (from bar 9 of the Lacrimosa to the final Communio). The Requiem in D minor was Mozart's last composition, written between October and December of 1791. Oratorios and Cantatas (1767–1785) K 1Īria for soprano "Kommet her, ihr frechen Sünder"Ĭantata "Die ihr des unermeßlichen Weltalls" Offertory in D minor "Misericordias Domini" Offertorium "Sub tuum praesidium" (doubtful) ![]() Motet for soprano in F "Exsultate, jubilate" Recitative and aria for soprano "Ergo interest"Īntiphon in D minor "Quaerite primum regnum Dei" ![]() Litaniae de venerabili altaris sacramento in E-flat Litaniae de venerabili altaris sacramento in B-flat Mass in C, "Missa in honorem Sanctissimae Trinitatis" Pulling away from the basis of the sacred works of Bach or Handel, which at the time of his later output (around 1780 to 1791) had gone out of fashion, his sacred works eventually resulted in the Requiem, which was left unfinished at his early death in 1791. ![]() Beginning in 1768 and ending in 1791, his sacred works are considered some of the most important and influential ever written. Mozart's sacred choral music consists of Masses, Litanies, Vespers, Psalms, Church Music, Oratorios, Cantatas, Requiem among and other shorter and fragmented works. Only relatively few of Mozart's compositions have opus numbers, as not so many of his compositions were published during his lifetime, so numbering by opus number proves quite impractical for Mozart compositions.On the other hand, for most chamber music and vocal music there is no such numbering (or at least no generally accepted one). Not all thematic groups of Mozart's works have a separate numbering that is generally accepted: Köchel only numbers symphonies (1 to 41), piano concertos (1 to 27, leaving out some early transcriptions by Mozart) and a few other groups. ![]()
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