Requiem Analysis

1739 Words Nov 26th, 2001 7 Pages
Mozart's Requiem, in d minor K 626, was written in 1791. Franz Sussmayr, who was Mozart's understudy, completed it. About half of the Requiem is credited to him, however analyzer's today and of his day question whether he really did complete any of it due to the mastery of the piece.

During Mozart's illness, a stranger visited him. This man (who kept his appearance concealed) wanted him to compose a mass for the dead. He was obsessed at this point that he was writing his own Requiem and so although he was ill, he completed parts of it and a basic outline, of which he discussed with his understudy Franz Sussmayr. He "made Sussmayr familiar with his further plans for the work, showed him the outlines of the unfinished movements and explained
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However, slight modifications are made in a tonal answer so that the intervallic distance is not always the same as in the subject. The modifications generally entail replacing dominant implications with tonic. Thus if a fugue subject begins on a dominant tone the answer begins on the tonic."�(3)The answer in this case starts on the tonic (D). This occurs in the soprano line, in the middle of the fourth measure.

As we continue on, another counter subject (to play off of the new subject) occurs in the tenor line, five measures in on a "B natural"�. At rehearsal letter F another tonal answer occurs in the alto line this time, starting on an "A"�. The counter subject to this enters in the bass line one measure later. This one begins on "E"�. Finally, the subject appears in the Tenor line, four measures after F, with its counter subject entering in the soprano two half measures later. Once the presentation of the subject is completed in all four parts (as with the counter subject) the end of the first section, called the exposition, is completed. The exposition begins in "d"� minor and works its way to it's dominant minor "a"� minor at the beginning of the first episode.

An episode is "A short interlude in the development section of a fugue that does not contain the subject or answer but connects entrances of either in various keys."�(4) The first episode is…