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A New Sanctus, Benedictus, and Agnus Dei for the Mozart Requiem

A New Sanctus, Benedictus, and Agnus Dei for the Mozart Requiem

version for period instrument ensemble, mixed chorus (SATB) and soloists, organ, and strings


  • Besetzung: Soli, Chor (SATB), Orgel, Streicher und historische Instrumente
  • Ausgabe: Aufführungsmaterial
  • Sprache: lateinisch

 
Beschreibung
While researching Mozart’s Requiem, I came across a rare recording by conductor Eugen Jochum from 1955. On the recording, the traditional Mozart/Süssmayr completion was performed as part of a memorial service in Vienna. This historical recording — which interpolated organ improvisations and chanted texts into the musical fabric — was a reminder that a Requiem, when performed as a mass, invites music from different sources and time periods. Mozart’s work was itself highly influenced by earlier music and begins with a conspicuous borrowing from Handel’s Funeral Anthem for Queen Caroline. While my new music does not sound like Mozart, it is written in a manner that pays homage to the juxtaposition of old and new styles apparent in Mozart’s late work and much of the liturgical music of the period. One of the enduring stories concerning the Requiem, was that the composer’s wife, Costanze, gave Süssmayr some musical “scraps” left by her husband to help the young composer write the missing movements. In homage to this myth, I have incorporated two cadential fragments from Süssmayr’s completion into the end of my Benedictus and Agnus Dei. Are these short passages possibly Mozart’s last writings, or are they Süssmayr’s invention? Our inability to answer such questions generates passionate debate concerning the Requiem and its fragmentary nature.
Details
Auftragswerk : Commissioned by Patrick Dupré Quigley and Seraphic Fire
Inhaltstext: I Sanctus
II Benedictus
III Agnus Dei
Kompositionsjahr: 2013
Orchesterbesetzung: 2 classical basset horns in F, 2 classical bassoons; 2 natural trumpets (player 1 in B-flat; player 2 in C and in B-flat), 2 classical trombones (player 1 and 2 on tenor; player 3 on bass); timpani (three drums: one high; two low); organ, strings
Spieldauer: 20'0"
Uraufführung : 12. Februar 2016 Fort Lauderdale, FL, All Saints Episcopal (USA) · Dirigent: Patrick Dupré Quigley · The Sebastians · Seraphic Fire
Verlag: Schott Helicon Music Corporation
Lieferrechte: weltweit
Aufführungen
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-18 | Philadelphia, PA (Vereinigte Staaten von Amerika), St. Clement\'s Episcopal
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-17 | New York, NY (Vereinigte Staaten von Amerika), Trinity Wall Street
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-16 | Washington, DC (Vereinigte Staaten von Amerika), St. Paul\'s Episcopal, K Street
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-14 | Miami, FL (Vereinigte Staaten von Amerika), South Miami-Dade Cultural Arts Center
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-13 | Miami, FL (Vereinigte Staaten von Amerika), Miami Shores Presbyterian
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-12 | Fort Lauderdale, FL (Vereinigte Staaten von Amerika), All Saints Episcopal | Uraufführung
While researching Mozart’s Requiem, I came across a rare recording by conductor Eugen Jochum from 1955. On the recording, the traditional Mozart/Süssmayr completion was performed as part of a memorial service in Vienna. This historical recording — which interpolated organ improvisations and chanted texts into the musical fabric — was a reminder that a Requiem, when performed as a mass, invites music from different sources and time periods. Mozart’s work was itself highly influenced by earlier music and begins with a conspicuous borrowing from Handel’s Funeral Anthem for Queen Caroline. While my new music does not sound like Mozart, it is written in a manner that pays homage to the juxtaposition of old and new styles apparent in Mozart’s late work and much of the liturgical music of the period. One of the enduring stories concerning the Requiem, was that the composer’s wife, Costanze, gave Süssmayr some musical “scraps” left by her husband to help the young composer write the missing movements. In homage to this myth, I have incorporated two cadential fragments from Süssmayr’s completion into the end of my Benedictus and Agnus Dei. Are these short passages possibly Mozart’s last writings, or are they Süssmayr’s invention? Our inability to answer such questions generates passionate debate concerning the Requiem and its fragmentary nature.
Auftragswerk : Commissioned by Patrick Dupré Quigley and Seraphic Fire
Inhaltstext: I Sanctus
II Benedictus
III Agnus Dei
Kompositionsjahr: 2013
Orchesterbesetzung: 2 classical basset horns in F, 2 classical bassoons; 2 natural trumpets (player 1 in B-flat; player 2 in C and in B-flat), 2 classical trombones (player 1 and 2 on tenor; player 3 on bass); timpani (three drums: one high; two low); organ, strings
Spieldauer: 20'0"
Uraufführung : 12. Februar 2016 Fort Lauderdale, FL, All Saints Episcopal (USA) · Dirigent: Patrick Dupré Quigley · The Sebastians · Seraphic Fire
Verlag: Schott Helicon Music Corporation
Lieferrechte: weltweit
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-18 | Philadelphia, PA (Vereinigte Staaten von Amerika), St. Clement\'s Episcopal
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-17 | New York, NY (Vereinigte Staaten von Amerika), Trinity Wall Street
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-16 | Washington, DC (Vereinigte Staaten von Amerika), St. Paul\'s Episcopal, K Street
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-14 | Miami, FL (Vereinigte Staaten von Amerika), South Miami-Dade Cultural Arts Center
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-13 | Miami, FL (Vereinigte Staaten von Amerika), Miami Shores Presbyterian
Dirigent: Patrick Dupré Quigley
Orchester: The Sebastians
2016-02-12 | Fort Lauderdale, FL (Vereinigte Staaten von Amerika), All Saints Episcopal | Uraufführung
Sonstige Ausgaben