Requiem (Mozart) - Structure

Structure

The Sussmayr completion of the Requiem is divided into fourteen movements, with the following structure:

  • I. Introitus: Requiem aeternam (choir and soprano solo)
  • II. Kyrie eleison (choir)
  • III. Sequentia (text based on sections of the Dies Irae):
    • Dies irae (choir)
    • Tuba mirum (soprano, contralto, tenor and bass solo)
    • Rex tremendae majestatis (choir)
    • Recordare, Jesu pie (soprano, contralto, tenor and bass solo)
    • Confutatis maledictis (choir)
    • Lacrimosa dies illa (choir)
  • IV. Offertorium:
    • Domine Jesu Christe (choir with solo quartet)
    • Versus: Hostias et preces (choir)
  • V. Sanctus:
    • Sanctus Dominus Deus Sabaoth (choir)
    • Benedictus (solo quartet, then choir)
  • VI. Agnus Dei (choir)
  • VII. Communio:
    • Lux aeterna (soprano solo and choir)

The Introit is in D minor and finishes on a half-cadence that transitions directly into Kyrie. The Kyrie is a double fugue, with one subject corresponding to "Kyrie Eleison" and the other to "Christe Eleison". The movement Tuba mirum opens with a notable trombone solo accompanying the bass. The Confutatis is well known for its string accompaniment; it opens with agitating figures that accentuate the wrathful sound of the basses and tenors, but it turns into sweet arpeggios in the second phrase while accompanying the soft sounds of the sopranos and altos.

Read more about this topic:  Requiem (Mozart)

Famous quotes containing the word structure:

    “With sixty staring me in the face, I have developed inflammation of the sentence structure and definite hardening of the paragraphs.”
    —James Thurber (1894–1961)

    “The syntactic component of a grammar must specify, for each sentence, a deep structure that determines its semantic interpretation and a surface structure that determines its phonetic interpretation.”
    —Noam Chomsky (b. 1928)

    “It is difficult even to choose the adjective
    For this blank cold, this sadness without cause.
    The great structure has become a minor house.
    No turban walks across the lessened floors.
    The greenhouse never so badly needed paint.”
    —Wallace Stevens (1879–1955)