This essay needs to be a professional paper for Music history class, it’s including music
analysis, please write it as a professional music student.
The Essay is intended to demonstrate your understanding of the stylistic elements and aesthetics we have studied so far, as well as the text-music relationship as it has developed over this first part of the semester. It also proceeds from the complicated compositional and reception history of the Mozart Requiem, as introduced by the second chapter of Keefe’s Mozart’s Requiem. Your essay will be a brief study of these sections of the Mozart Requiem at these four stages various stages of its somewhat tormented compositional history.
You should begin with a concise yet substantive description of what Mozart actually composed, in technical terms–touching on any prominent formal, stylistic, textural, textual, harmonic aspects. Please attempt to formulate this description from a “de-informed” perspective. That means, try to clear the Süßmayr and any other versions from your mind first, and do not study the other excerpts before this. (You could, as we discussed in class, draw on the orchestration of Michael Haydn’s Requiem to reorient your mind’s ear; you could also look to Mozart’s Introit, which he actually completed.) Then, complete your discussion with some consideration of what kinds of basic musical material seem to be lacking to your de-informed mind. For example, think about any general doublings, orchestration strategies, or formal articulations that the vocal texture seems to demand. You could even suggest new accompaniment figures or elaboration of melodic material, if so compelled. You can take this part of the exercise as little or far as you want (but not excessively creative, please). NB: any new musical matter proposed in actual score form (not required), by you more imaginative types, will not be counted as part of the 3+ pages of text.
The second, more open-ended part of the essay will compare how each of the three post-Mozart version builds upon the original fragment and engages earlier completions. Consider what each version is accomplishing and how they differ, and what decisions seem more or less effecting or correct. You may editorialize on the differences of approach, and historical perspective all you want, as long as your commentary is well-written.
I have three musical examples by PDF in the files which are The Rex tremendae and Recordare sections of the Mozart Requiem as they exist in:
1. The incomplete manuscript left by Mozart at the time of his death.
2. The abandoned first attempt at completion, by the Viennese composer Joseph Eybler within a few weeks of Mozart’s death
3. The 1994 completion written by Robert D. Levin as an alternative to the traditional Süßmayr completion of 1792.
In addition, you must obtain these sections from the traditional Franz Xaver Süßmayr completion–the typical version of the Requiem, which is available from many sources. Recommendation: Find the urtext edition at the Neue Mozart Ausgabe Online.
Recordings of the Süßmayr and Levin version should be easy to find. Recordings of the Fragment and Eybler Fragment are tougher to come by. I have not actually found a reliable one yet.
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