Mozart: Requiem in D minor, K. 626 by Hermann Scherchen
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Wolfgang Amadeus Mozart (1756-1791) - Requiem KV 626.
COMPLETE PLAYLIST : COMING SOON
Soprano: Sena Jurinac
Alto: Lucretia West
Tenor: Hans Löffler
Bass: Frederick Guthrie
Vienna State Opera Chorus & Orchestra
Conductor: Hermann Scherchen
Recorded in 1958, at Vienna
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The genesis of Mozart's "Requiem" is shrouded in legend. The mysterious circumstances surrounding the commissioning of this work gave rise to a whole literature in the 19th century, and were embellished by a certain romanticism, whereas the real circumstances were soon perfectly well known.
Count von Walsegg-Stuppach, in Lower Austria, had the singular habit of auditioning works commissioned from foreign musicians and passing them off as his own. Thus, after the death of his wife in February 1791, he commissioned a Requiem from Mozart. Since, for obvious reasons, the Count wished to remain anonymous, he passed the commission on to an intermediary - either a chancellery employee of one of his friends, a lawyer in Vienna, or one of Walsegg's administrators. The latter would later appear in literature as the "messenger in gray" (der graue Bote). Without revealing the Count's identity, he immediately offered Mozart a fee of 50 ducats half his fee, which is said to have finally persuaded Mozart, in perpetual financial disarray, to accept the commission.
When Mozart died on December 5, 1791, only the "Requiem aeternam" and the Kyrie (no. 1) had been completed, as well as the vocal parts and basso continuo of the "Dies irae" sequence (nos. 2-7) up to the eighth bar of the "Lacrimosa", plus a few orchestral indications. The two Offertory pieces ("Domine Jesu" and "Hostias") were presented in the same way. The rest, namely the Sanctus, Benedictus, Agnus Dei and Communion "Lux aeterna", were completely missing. The fragmentary state of the work made it impossible for the widow to deliver it. So she asked Franz Xaver Süssmayr to complete it.
Süssmayr created the instrumentation for the Sequence and Offertory according to Mozart's indications, completed the "Lacrimosa" from the ninth bar onwards, and recomposed the last four parts, for which he probably had Mozart's sketches at his disposal. For the Communion, he referred to the Requiem and Kyrie. Finally, in order to present the work as homogeneously as possible, he copied the first two movements, which had already been completed, in their entirety. This copy still exists and bears the title "Requiem composto dal conte Walsegg". It was used on the day of the performance of "his" work, which he conducted in Wiener-Neustadt on December 14, 1793. Mozart was neither a religious composer nor a church musician. He was a universal composer to whom the Church offered the opportunity to express himself.
Mozart: Requiem in D minor, K.626 by Hermann Scherchen (1953)
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