Description

‘REQUIEM’ (1791) by Wolfgang Amadé [Amadeus] MOZART

Second half of the COMPLETE work

arranged for a Quartet of 4 Solo Cellos (or a larger cello ensemble / orchestra) by David Johnstone

based on the Mozart/Sußmayr/Lichtenthal version

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Downloads:

PART 1 (Movements 1 to 6) [see separate entry alongside this music in the Johnstone-Music page]
PDF 1 – Score
PDF 2 – Cello 1
PDF 3 – Cello 2
PDF 4 – Cello 3
PDF 5 – Cello 4

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PART 2 (Movements 7 to 12)
PDF 6 – Score
PDF 7 – Cello 1
PDF 8 – Cello 2
PDF 9 – Cello 3
PDF 10 – Cello 4

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Notes:

The Requiem in D minor, K. 626, is a Requiem Mass by Wolfgang Amadé/Amadeus Mozart (1756–1791). It has been a staple of the choral repertoire since its first publication in July 1800. Yet, when Mozart died on 5th December 1791, some of the work was unfinished. Constanze, the composer’s wife, desperately needed the remainder of the commission fee, so she decided to have the work revised/completed by another composer, someone from Mozart’s close circle of students and friends and pass it off as entirely by Mozart. The version widely performed and recorded today is the work of Franz Xaver Süßmayr, who assisted Mozart in the final months of his life. A completed version dated 1792 by Süßmayr was indeed delivered to Count Franz von Walsegg, who had commissioned the piece for a requiem service on 14th February 1792 to commemorate the first anniversary of the death of his wife Anna at the age of 20 on 14th February 1791.

However doubtful this Mozart- Süßmayr ‘collaboration’ might seem, the amazing result is is not only a totally unified work musically, but one of the greatest choral pieces ever written! It offers a sublime beauty and dignity that leaves audiences profoundly moved and memorably uplifted through its approximately 55 minutes of duration.  It should be fair to point out that in addition to the ‘normal’ Süssmayr version, a number of alternative completions have been developed by composers and musicologists in the 20th and 21st centuries.

Mozart’s widow Constanze was responsible for a number of stories, now legends, surrounding the composition of the work, including the claims that Mozart received the commission from a mysterious messenger who did not reveal the commissioner’s identity, or that Mozart came to believe that he was writing the Requiem for his own funeral.

David Johnstone has transposed the entire work into more comfortable registers for violoncellos; even so, there has been much painstaking ‘orchestration’ to bring this to a cello ensemble possibility. The whole work is now offered. The more usual programming will probably be for four advanced cellists of professional performance standards, but there is also the possibility of interpretations by much larger cello ensembles (who should decide for themselves if a few passages might be played by solo performers and not the tutti sections).

This new reworking is affectionately dedicated to GABRIEL MESADA ESTRADA, principal cellist with the Basque National Orchestra (San Sebastian).

Gabriel Mesado

Born in Barcelona in 1979, Gabriel Mesado studied much of his youthful life in Germany, passing through the Higher Conservatories of Cologne and Aachen, and later obtained the Honours Award at the end of his studies in the specialty of cello in Basel, where he studied under the guardianship of Thomas Demenga. He won several regional and national awards, including the Young Musicians Competition (‘Jungend Musiziert’), and received a scholarship from the Pau Casals Foundation. He is principal cello of the Orquesta Sinfónica de Euskadi – The Basque National Orchestra, with whom he also has performed as invited concerto soloist; in especial, his interpretations of Schumann’s Cello Concerto and Tchaikovsky’s Rococo Variations have earned him fine reviews.

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