Requiem in D minor, K.626 (Mozart, Wolfgang Amadeus)

Authorship Note
Mozart's Requiem was unfinished at the time of his death. Unless otherwise stated the scores below relate to the completion of the work attributed to his friend Franz Xaver Süssmayr (1766–1803)


Contents

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Performances

Recordings

13 more: Kyrie • Dies irae • Tuba mirum • Rex tremendae • Recordare • Confutatis • Lacrimosa • Domine Jesu Christe • Hostias et preces • Sanctus • Benedictus • Agnus Dei • Communio

Performer Pages Chorus Pro Musica (chorus)
Harvard Glee Club (chorus)
Radcliffe Choral Society (chorus)
New England Conservatory Chorus (chorus)
St. John's Seminary Choir (chorus)
Boston Symphony Orchestra (orchestra)
Erich Leinsdorf (conductor)
Saramae Endich (soprano)
Eunice Alberts (alto)
Nicholas Di Virgilio (tenor)
Mac Morgan (bass)
Publisher Info. RCA, 1964. (February).
Copyright
Misc. Notes Extracts from a recording of a Requiem Mass given for John Fitzgerald Kennedy at the Cathedral of the Holy Cross, Boston, January 19, 1964. Processionals, remarks and spoken liturgy omitted. Produced by Richard Mohr. Lewis Layton was the recording engineer. The master tapes were produced by John Pfeiffer. The following were the choral directors: Elliot Forbes (Harvard/Radcliffe), Lorna Cooke deVaron (New England Conservatory), Rt. Rev. Russell H. Davis (St. John's Seminary).
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13 more: Kyrie • Dies irae • Tuba mirum • Rex tremendae • Recordare • Confutatis • Lacrimosa • Domine Jesu Christe • Hostias et preces • Sanctus • Benedictus • Agnus Dei • Communio

Performer Pages Wiener Singverein (chorus)
Berliner Philharmoniker (orchestra)
Herbert von Karajan (conductor)
Wilma Lipp (soprano)
Hilde Rössel-Majdan (alto)
Anton Dermota (tenor)
Walter Berry (bass)
Publisher Info. Deutsche Grammophon, 1962.
Copyright
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13 more: Kyrie eleison • Dies irae (Sequentia) • Tuba mirum (Sequentia) • Rex tremendae (Sequentia) • Recordare (Sequentia) • Confutatis (Sequentia) • Lacrimosa (Sequentia) • Domine Jesu Christe (Offertorium) • Hostias et preces (Offertorium) • Sanctus • Benedictus • Agnus Dei • Lux aeterna (Communio)

Performer Pages Münchener Bach-Chor (chorus)
Münchener Bach-Orchester (orchestra)
Karl Richter (conductor)
Maria Stader (soprano)
Hertha Töpper (alto)
John van Kesteren (tenor)
Karl-Christian Kohn (bass)
Franz Eder (trombone)
Publisher Info. Telefunken, 1961.
Copyright
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13 more: II. Kyrie • III. Sequenz - Dies irae • III. Sequenz - Tuba mirum • III. Sequenz - Rex tremendae • III. Sequenz - Recordare • III. Sequenz - Confutatis • III. Sequenz - Lacrymosa • IV. Offertorium - Domine Jesu • IV. Offertorium - Hostias • V. Sanctus • VI. Benedictus • VII. Agnus Dei • VIII. Communio - Lux aeterna

Performer Pages Wiener Philharmoniker (orchestra)
Herbert von Karajan (conductor)
Leontyne Price (soprano)
Hilde Rössel-Majdan (contralto)
Fritz Wunderlich (tenor)
Eberhard Waechter (baritone)
Walter Berry (bass)
Publisher Info. Archipel, 2011.
Copyright
Misc. Notes Live recording from the 1960 Salzburg Festival. First issuing was in 2011 by Archipel. However, the copyright on the sound recording had already expired at this time; sound recordings generally enjoy 50 years from publication in Canada and the EU, BUT this only applies if 50 years have not already passed since the creation of the work. As this recording was already over 50 years old at the time of first publication, it is in the public domain.
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13 more: II. Kyrie • III. Sequenz - Dies irae • III. Sequenz - Tuba mirum • III. Sequenz - Rex tremendae • III. Sequenz - Recordare • III. Sequenz - Confutatis • III. Sequenz - Lacrymosa • IV. Offertorium - Domine Jesu • IV. Offertorium - Hostias • V. Sanctus • VI. Benedictus • VII. Agnus Dei • VIII. Communio - Lux aeterna

Performer Pages Wiener Philharmoniker (orchestra)
Konzertvereinigung Wiener Staatsopernchor (chorus)
Bruno Walter (conductor)
Lisa Della Casa (soprano)
Ira Malaniuk (contralto)
Anton Dermota (tenor)
Cesare Siepi (bass)
Publisher Info. Orfeo d'Or, 1956.
Copyright
Misc. Notes Live recording from the 1956 Salzburg Festival (July 26).
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5 more: III. Sequenz (Nos.1-6) • IV. Offertorium (Nos.1-2) • V. Sanctus — VI. Benedictus • VII. Agnus Dei • VIII. Communio: Lux aeterna

Performer Pages Wiener Philharmoniker (orchestra)
Wiener Hofmusikkapelle (chorus)
Josef Krips (conductor)
Werner Pech (treble)
Hans Breitschopf (alto)
Walther Ludwig (tenor)
Harald Pröglhöf (bass)
Publisher Info. Decca, 1951.
Performers Wiener Hofmusikkapelle (chorus)
Copyright
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TN-PMLP842027-Requiem in D minor, K.626, Intritus -Requiem & Kyrie- (Wolfgang Amadeus Mozart) Decca 1951-3542.jpg

Selections (abridged)

For Voices and Recorder Ensemble (Papalin)

12 more: III. Sequenz - Dies irae • III. Sequenz - Tuba mirum • III. Sequenz - Rex tremendae • III. Sequenz - Recordare • III. Sequenz - Confutatis • III. Sequenz - Lacrymosa • IV. Offertorium - Domine Jesu • IV. Offertorium - Hostias • V. Sanctus • VI. Benedictus • VII. Agnus Dei • VIII. Communio - Lux aeterna

Performer Pages Papalin (Recorder, Chorus)
Publisher Info. Papalin
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Lacrymosa

For Piano
Performer Pages German Kitkin (Piano)
Publisher Info. Lev Kitkin, 2024.
Copyright
Misc. Notes Sheet Music: patreon.com
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TN-PMLP2751-German Kitkin - Lacrymosa-2431.jpg

Naxos

Synthesized/MIDI

Kyrie

For 2 Trumpets and 2 Trombones (Rondeau)
Publisher Info. Michel Rondeau
Performers MIDI
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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Tuba mirum

For 5 Trumpets and 4 Trombones (Adams)
Publisher Info. Stefan Adams
Performers Synthesized/MIDI
Copyright
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Lacrymosa

For Strings (Choe)

Publisher Info. Joshua Choe, 2022.
Performers Finale v27
Copyright
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Sheet Music

Full Scores

Mozart's fragment

Publisher. Info. Holograph manuscript, 1791.
Copyright
Misc. Notes Contains the complete autograph fragment in Mozart's handwriting (combined from the Ablieferungspartitur and the Arbeitspartitur) with some additions inserted by other composers (among them Eybler and Freystädtler) at Constanze's request immediately after Mozart's death. Colour scans are at ca. 200dpi. Monochrome conversion of ÖNB's colour scans has been upscaled to 600 dpi, with the last page of the Hostias restored to its pre-1958 state (via 1913 facsimile).
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Copyist Franz Xaver Süssmayr (1766–1803)
Publisher. Info. Partial Holograph manuscript, 1791.
Copyright
Misc. Notes Österreichische Nationalbibliothek, Vienna (A-Wn): Mus. Hs.17561
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Copyist Unknown Scribe(s)
Publisher. Info. Manuscript, n.d.
Copyright
Misc. Notes Österreichische Nationalbibliothek, Vienna (A-Wn): Mus. Hs. 6090
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Copyist Maximilian Stadler (1748–1833)
Publisher. Info. Manuscript, n.d.
Copyright
Misc. Notes Österreichische Nationalbibliothek, Vienna (A-Wn): Mus.Hs.19057
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Copyist Maximilian Stadler (1748–1833)
Publisher. Info. Manuscript, n.d.
Copyright
Misc. Notes Domine Jesu and Hostias in the hand of, and completed by Stadler.
Österreichische Nationalbibliothek, Vienna (A-Wn): Mus.Hs.4375
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Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1 [NMA I/1/Abt.2/1]
Kassel: Bärenreiter-Verlag, 1965. Plate BA 4537.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Misc. Notes scan: score scanned at 600dpi (High Quality Scanning)
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Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1 [NMA I/1/Abt.2/1]
Kassel: Bärenreiter-Verlag, 1965. Plate BA 4537.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Copyright
Misc. Notes Only what Mozart himself wrote, without additions by other hands.
The additions of unidentified musicians (who are probably not Süssmayr and Freystädtler) in the Kyrie were thought to be Mozart's at the time this edition was published. Only the bottom five lines of the score (choir, cellos, basses, and organ, including figured bass) were actually written by Mozart.
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Editor D. Benjamin Miller
Publisher. Info. D. Benjamin Miller
Copyright
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Eybler's additions

Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1 [NMA I/1/Abt.2/1]
Kassel: Bärenreiter-Verlag, 1965. Plate BA 4538.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Misc. Notes scan: score scanned at 600dpi (High Quality Scanning)
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6 more: 1. Dies irae • 2. Tuba mirum • 3. Rex tremendae • 4, Recordare • 5. Confutatis • 6. Lacrymosa

Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1,
Abteilung 2: Requiem, Band 1 [NMA I/1/Abt.2/1]
Kassel: Bärenreiter-Verlag, 1965. Plate BA 4538.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Misc. Notes Eybler's additions to the Sequenz
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Süssmayr completion

Copyist Franz Xaver Süssmayr (1766–1803), partial
Publisher. Info. Partial Holograph manuscript, 1791-92.
Copyright
Misc. Notes Score partially in Mozart's hand (f.1-10), but mostly in the hand of Süssmayr. Colour scans are at ca.200 dpi. Monochrome conversion of ÖNB's colour scans has been upscaled to 600 dpi.
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Editor First edition
Language Latin / German
Translator Johann Arnold Minder (1770–1839), German text
Publisher. Info. Leipzig: Breitkopf und Härtel, n.d.[1800].
Copyright
Misc. Notes Boston Public Library, Music Department (US-Bp): Brown collection.
Includes German text by Johann Adam Hiller (1728-1804) and parody by Christian August Heinrich Clodius (1772-1836) at end of score.
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Editor Revised edition
Language Latin / German
Translator Johann Arnold Minder (1770–1839), German text
Publisher. Info. Leipzig: Breitkopf und Härtel, n.d.[1812]. Plate 1821.
Copyright
Misc. Notes The German text by Hiller and parody by Clodius is in the frontmatter here.
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Editor Johannes Brahms (1833–1897)
Publisher. Info. Mozarts Werke, Serie XXIV: Supplemente, Bd.1, No.1
Leipzig: Breitkopf & Härtel, 1877. Plate W.A.M. 626.
Copyright
Misc. Notes Originally scanned at 300dpi grayscale, converted to 600dpi monochrome.
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Editor Johannes Brahms (1833–1897)
Publisher. Info. Mozarts Werke, Serie XXIV, Bd.1, No.1
Leipzig: Breitkopf & Härtel, 1877. Plate W.A.M. 626.
Reprinted Mineola: Dover Publications, 1989.
Copyright
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Editor Friedrich Blume (1893–1975)
Publisher. Info. Leipzig: Ernst Eulenburg, n.d.[1932]. Plate E.E. 3032.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

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Misc. Notes Blume's preface (German and English) omitted.
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Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1 [NMA I/1/Abt.2/1]
Kassel: Bärenreiter-Verlag, 1965. Plate BA 4538.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Misc. Notes scan: score scanned at 600dpi (High Quality Scanning)
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Editor Leopold Nowak (1904–1991)
Publisher. Info. Neue Mozart-Ausgabe, Serie I, Werkgruppe 1 [NMA I/1/Abt.2/1] (pp.37-199)
Kassel: Bärenreiter-Verlag, 1965, 1979. Plate BA 4538.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here. This edition was published by Bärenreiter in Germany over 25 years ago and is in the public domain in its country of origin.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland). In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Feduol (2024/8/13)

Editor Richard Maunder (1937–2018)
Publisher. Info. Oxford: Oxford University Press, 1988.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

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Dies irae

Engraver Martin Norbäck
Publisher. Info. Mutopia Project, 2014.
Copyright
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Parts

27 more: Clarinet 1 (B♭) • Clarinet 1 (B♭, add. copy) • Clarinet 2 (B♭) • Clarinet 2 (B♭, add. copy) • Corno di Bassetto 1 (F) • Corno di Bassetto 2 (F) • Bassoon 1 • Bassoon 2 • Trumpet 1 (D) • Trumpet 2 (D) • Alto Trombone • Alto Trombone (add. copy) • Tenor Trombone • Tenor Trombone (add. copy) • Bass Trombone • Bass Trombone (add. copy) • Timpani • Organ • Organ (add. copy) • Sopranos • Altos • Tenors • Basses • Violins I • Violins II • Violas • Cellos/Basses

Copyist Joseph Palme (?–ca.1803)
Publisher. Info. Schönlinde: Manuscript, 1823.
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12 more: Corno di Bassetto 1 (F) • Corno di Basseto 1, 2 (F) • Bassoon 1, 2 • Trumpet 1, 2 (D, B♭) • Trumpet (E♭) - substitute for Alto Trombone • Trombone 1, 2, 3 (alto, tenor bass clef) • Timpani • Violins I • Violins II • Violas • Cellos • Basses

Publisher. Info. Leipzig: Breitkopf und Härtel, n.d.(ca.1890). Plate Orch-B. 760.
Reprinted New York: E.F. Kalmus, n.d.(1933–70).
Copyright
Misc. Notes These files are part of the Orchestra Parts Project.
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Lfm (2024/11/23)

16 more: Corno di Bassetto 2 • Fagotto 1 • Fagotto 2 • Clarinetto 1 • Clarinetto 2 • Timpani • Trombone I (chiave alto) • Trombone II • Trombone III • Trombone I (chiave tenore) • Clarino I • Clarino II • Viola • Violino I • Violino II • Violoncello e basso

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Publisher. Info. Kassel: Bärenreiter, 1965. Plate 4538.
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Feduol (2024/8/13)

13 more: Basset Horn 2 • Bassoon 1 • Basoon 2 • Trumpet 1 (D) • Trumpet 2 (D) • Trombone 1 • Trombone 2 • Trombone 3 • Timpani • Violins I • Violins II • Violas • Cellos/Basses

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Feduol (2024/8/13)

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Feduol (2024/8/13)

Editor Richard Maunder (1937–2018)
Publisher. Info. Oxford: Oxford University Press, 1988.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the original work may not have expired.

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Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
Reprinted Stuttgart: Carus-Verlag, 1990. Plate CV 40.630/21.
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Misc. Notes Appendix with Süssmayr's completion.
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Feduol (2024/8/13)

Editor Richard Maunder (1937–2018)
Publisher. Info. Oxford: Oxford University Press, 1992.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

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Misc. Notes Appendix with Süssmayr's completion.
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11 more: Clarinet 2 (B♭, substitute for Basset Horn) • Trumpet 1 (B♭) • Trumpet 2 (B♭) • Alto Trombone • Tenor Trombone • Bass Trombone • Violins I • Violins II • Violas • Cellos • Basses

Editor Philipp Maier
Publisher. Info. Philipp Maier
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PDF typeset by editor
Defreeze (2016/1/28)

Editor Rein de Vries
Publisher. Info. Recordare Publishing
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Misc. Notes After Neue Mozart-Ausgabe (1965) edition.
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Vocal Scores

Language Latin / German
Publisher. Info. Offenbach s/M: Joh. André, n.d. Plate 1549.
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Arranger Vincent Novello (1781–1861), organ reduction
Editor Edward Holmes (1797–1859), critical essay
Language Latin
Publisher. Info. Masses, with Organ Accompaniment, Vol.2
London: Novello, Ewer & Co., n.d.(ca.1860).
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Misc. Notes This file is part of the Sibley Mirroring Project.
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Arranger Vincent Novello (1781–1861), organ reduction
Language Latin / English
Publisher. Info. Boston: Oliver Ditson & Co., n.d.(ca.1860).
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Language Latin
Publisher. Info. Unidentified Publisher, n.d.(ca.1880).
Reprinted Moscow: Muzyka, n.d.
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Misc. Notes Different reduction than Brissler's. Possibly the re-engraving of the original Breitkopf reduction by Schwenke
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Arranger Friedrich Brissler (1818–1893)
Publisher. Info. Leipzig: Edition Peters, n.d.[1870]. Plate 4431.
Copyright
Misc. Notes Converted to monochrome. Measure numbers added
Brissler’s vocal score appeared no later than 1870, but was re-engraved around 1895 (see below). It has been extensively reprinted over the years – by G. Schirmer, Kalmus, and Dover Publications among many others.
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Arranger Friedrich Brissler (1818–1893)
Editor Hermann Kretzschmar (1848–1924) (introduction)
Publisher. Info. Leipzig: Peters, n.d.(ca.1895). Plate 8337.
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Misc. Notes Measure numbers added
#552289: light like the original Peters score
#552996: darker like the Muzgiz and Kalmus reprints. Use that appropriate with your the light in your room.
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Arranger Friedrich Brissler (1818–1893)
Language Latin
Publisher. Info. Leipzig: C.F. Peters, n.d.(ca.1895). Plate 8337.
Reprinted Moscow: Muzyka, n.d.
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Editor Paco Marmol and
Manolo Casaus
Publisher. Info. Choral Public Domain Library
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Misc. Notes This edition contains several errors; for a complete list, see its page on cpdl. I can correct them if someone could convert the original Encore file in a Lilypond, Musicxml or Finale format.
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Arrangements and Transcriptions

Complete

For Voices, Mixed Chorus, Strings and Organ (Spengel)
Arranger Heinrich Ludwig von Spengel (1775–1865)
Publisher. Info. Augsburg: J. H. Besemfelder, 1852.
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Misc. Notes organ given here as basso with figures.
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For 2 Pianos (Marigo)
Arranger Miguel Marigo (b. 1955)
Publisher. Info. Miguel Marigo
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For Piano 4 hands (Czerny)
Arranger Carl Czerny (1791–1857)
Publisher. Info. Vienna: Anton Diabelli & Co., n.d. Plate D. & C. No. 2786.
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For Piano 4 hands
Arranger Unknown
Publisher. Info. Leipzig: Edition Peters, n.d. Plate 1329.
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For Organ (Pittman)
Arranger Josiah Pittman (1816–1886)
Publisher. Info. London: J. Alfred Novello, n.d.[1854].
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Misc. Notes Royal College of Music Library, London (GB-Lcm): D2479/32
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For Piano (Klindworth)
Arranger Karl Klindworth (1830–1916)
Publisher. Info. Moscow: P. Jurgenson, n.d.(ca.1900). Plate 600 T. 327.
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For Piano
Publisher. Info. Paris: Schonenberger, n.d. Plate 44e Livraison.
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Selections

For 10 Recorders (Wiebes)
Arranger Jaap Wiebes
Publisher. Info. Jaap Wiebes
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For Piano (Liszt)
Arranger Franz Liszt (1811–1886)
Editor First edition
Publisher. Info. Leipzig: C.F.W. Siegel, n.d.[1865]. Plate 2966.
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Misc. Notes From the Ruth Dana Collection of Liszt Editions.
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Arranger Franz Liszt (1811–1886)
Editor Adrienne Kaczmarczyk (b. 1963)
Imre Sulyok (1912–2008)
Publisher. Info. Neue Liszt-Ausgabe, Serie 2, Band 24 (pp.128-133)
Budapest: Editio Musica, 1998. Plate Z.Z. 13361.
URTEXT EDITION [more...]

This is an urtext/critical/scholarly/scientific edition (or a simple re-engraving). Any commentary or critical apparatus, if protected by copyright, should not be included in the scan(s) available here.

In Canada, new editions/re-engravings of public domain works (when not including new original material) should be in the public domain due to failing to meet the threshold of originality. In most European Union countries, these editions (except new original material) are generally protected for no more than 25 years from publication (30 years in Poland), and only if the edition is published after the copyrights of the original creator(s) have expired. In the United States, copyright can only apply to new creative work, and the re-engraving of a public domain piece (not including new additions of creative material) should not qualify for a new copyright, despite copyright claims (which properly would only apply to new material).

You may need to check the publication date and details of the work's first publication in order to determine the work's copyright status, especially for the United States, as the copyright on the original work may not have expired.

More information can be found here.
Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.
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Introitus

For Voices, Mixed Chorus and Orchestra (Rago)
Arranger Luigi Rago
Publisher. Info. Luigi Rago
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Misc. Notes Arranged for 2 clarinets instead of 2 basset horns.
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Kyrie

For 2 Trumpets and 2 Trombones (Rondeau)
Arranger Michel Rondeau
Publisher. Info. Michel Rondeau
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Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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For Organ (Clementi)
Arranger Muzio Clementi (1752–1832)
Editor Jolando Scarpa
Publisher. Info. Jolando Scarpa
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Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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For Organ (McMurdie)
Arranger Joseph McMurdie (1792–1878)
Publisher. Info. London: T. Boosey & Co., n.d.(ca.1830).
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Misc. Notes Royal College of Music Library, London (GB-Lcm): D2479/34
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For Organ (Stenov)
Arranger Michael Stenov
Publisher. Info. Michael Stenov
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Tuba mirum

For 5 Trumpets and 4 Trombones (Adams)
Arranger Stefan Adams
Publisher. Info. Stefan Adams
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Misc. Notes Transposed to F minor.
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Recordare

For Organ (Best)
Arranger William Thomas Best (1826–1897)
Publisher. Info. Arrangements from the Scores of the Great Masters, Vol.3 (pp.600-04)
London: Novello, Ewer & Co., n.d. Plate 2229.
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Lacrymosa

For Strings (Choe)

5 more: Violins I • Violins II • Violas • Cellos • Basses

Arranger Joshua Choe
Publisher. Info. Joshua Choe, 2022.
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For 3 Violins, Viola and Cello
Arranger Adam Yochum
Publisher. Info. EL Paso: Adom Yochun, 2017
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For 2 Trumpets and 2 Trombones (Kato)
Arranger Peter Kato (b. 1971)
Publisher. Info. Peter’s Digital Publication, 2021
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Misc. Notes Brass Quartet - Due Trombe e Tromboni
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For Guitar (Chakravorty)
Arranger Kingshuk Chakravorty (b. 2004)
Publisher. Info. Kingshuk Chakravorty
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Misc. Notes Lacrimosa section only.
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For Harmonium (Vilbac)
Arranger Renaud de Vilbac (1829–1884)
Publisher. Info. Perles de l'Harmonium (pp.72-73)
Braunschweig: Henry Litolff's Verlag, No.300, n.d.(ca.1875).
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For Piano (Liszt)
Arranger Franz Liszt (1811–1886)
Publisher. Info. Unidentified collection (pp.23-25)
St. Petersburg(?): Edition Russe de Musique?, n.d.(ca.1915). Plate 2.
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Arranger Franz Liszt (1811–1886)
Publisher. Info. Unidentified collection (pp.9-12)
Moscow: Muzyka, n.d.
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For Piano (Thalberg)
See: L'art du chant appliqué au piano, Op.70 by Sigismond Thalberg (No.5)

Domine Jesu Christe

For Horn, Trumpet and Euphonium (Messerschmidt)
Arranger Hans Jorgen Messerschmidt (b. 1944)
Publisher. Info. Hans Jorgen Messerschmidt, 2020.
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Hostias

For Piano (Sokolov)
Arranger Alexander Sokolov
Publisher. Info. Alexander Sokolov
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For Alto Clarinet in E♭ (Tocknell)
Arranger Mark Tocknell (b. 1959)
Publisher. Info. Mark Tocknell
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Misc. Notes With articulation to match choral line
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For Alto Clarinet in E♭ (Tocknell)
Arranger Mark Tocknell (b. 1959)
Publisher. Info. Mark Tocknell
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Misc. Notes With articulation to match choral line
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Sketches

Publisher. Info. Holograph manuscript, n.d.(ca.1790s?).
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Misc. Notes Contains sketches for Amen and Rex Tremendae, as well as sketches for Die Zauberflöte. NMA terms this leaf Skb 1791a
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General Information

Work Title Requiem
Alternative. Title Missa pro defunctis; Seelenmesse
Name Translations 安魂曲; Requiem d-moll; 레퀴엠; Requiem de Mozart; רקוויאם; [28 more...]Réquiem; Rekviēms; レクイエム; Rekviemo; Rekviem D-mol; реквием; เรควีเอ็ม; Recviem; Rèquiem; Реквієм; Rekviem av Mozart; Rekviem; Rekviyem; Mozarts rekviem; رکوییم (موتزارت); Reekviem; قداس الموت; Ռեքվիեմ; რეკვიემი; Mozart-Requiem; مۆسیقای مردوو ناشتن; Mocartov Rekvijem; Реквием (Моцарт); Моцарт реквием; Rekvijem (Mozart); Ռեքվէյմ; Requiemmis in D-mineur, KV 626 (Mozart); Ρέκβιεμ
Name Aliases 莫扎特D小调安魂弥撒曲; KV 626; Requiem Mozarta; K. 626; Requiem K626; [38 more...]רקוויאם של מוצרט; Misa n º 18; Requiem en re menor; Misa n. 18; K 626; Misa n 18; Réquiem de Mozart; Misa n 19; Lacrimosa; Misa de requiem en re menor; Misa n º 19; Misa n. 19; Requiem di Mozart; Messa di Requiem; Mozart Requiem; モツレク; Mozart-Requiem lyric; Mozarts Requiem; Реквием Моцарта; Re Minör Requiem; Requiem Mass in D minor; Rèquiem de Mozart; Rèquiem K. 626; El Rèquiem de Mozart; Requiem mozart; El Requiem de Mozart; Mozartin requiem; Requiem d-molli, KV 626; Requiem d-molli; Requiem (Mozart); Rekvijem; Wolfgang Amadeus Mozart: Rekvijem; Mozart's Requiem; Rekviema Meso en D-minoro; Requiem in re minore; Requiem ta' Mozart; Ρέκβιεμ σε Ρε ελάσσονα; Κ. 626
Authorities WorldCat; Wikipedia; VIAF: 178428929; GND: 300110464
Composer Mozart, Wolfgang Amadeus
Opus/Catalogue NumberOp./Cat. No. K.626 ; SmWV 105 (Süssmayr completion)
Internal Reference NumberInternal Ref. No. IWM 441
Key D minor
Movements/SectionsMov'ts/Sec's 14 movements (in 8 liturgical sections):
I. Introitus.
Requiem aeternam (chorus with soprano solo, 48 bars)
II. Kyrie. (chorus, 52 bars)
III. Sequenz.
1. Dies irae (chorus, 68 bars)
2. Tuba mirum (solo quartet, B major, 62 bars)
3. Rex tremendae (chorus, G minor, 22 bars)
4. Recordare (solo quartet, F major, 130 bars)
5. Confutatis (chorus, A minor, 40 bars)
6. Lacrymosa (chorus, D minor, 30 bars)
IV. Offertorium.
1. Domine Jesu (chorus with quartet, G minor, 78 bars)
2. Hostias (chorus, E major, 89 bars)
V. Sanctus (chorus, D major, 38 bars)
VI. Benedictus (chorus with quartet, B major, 76 bars)
VII. Agnus Dei (chorus, D minor, 51 bars)
VIII. Communio.
Lux aeterna (chorus with soprano, B major-D minor, 82 bars)
*Number of measures taken from Süssmayer completion
Year/Date of CompositionY/D of Comp. 1791 (unfinished; first completed 1792 by Süssmayr)
First Performance. 1791-12-10 (Introitus, Kyrie only) in Vienna, St. Michael's Church
Staff of Theater auf der Wieden (Mozart's memorial service)

1793-01-02 (complete) in Vienna

Benefit for Constanze Mozart
First Publication. 1800 (score); 1812 (parts)
Language Latin
Average DurationAvg. Duration 60 minutes
Composer Time PeriodComp. Period Classical
Piece Style Classical
Instrumentation voices, chorus, orchestra
InstrDetail [more...]
Vocal soli (soprano, alto, tenor, bass)
Mixed Chorus (SATB)
Orchestra
2 basset horns, 2 bassoons
2 trumpets, 3 trombones, timpani, strings, organ
Related Works Libera me Domine by Seyfried was written as a continuation of the Requiem.
Discography MusicBrainz
External Links Wikipedia article
NMA score
NMA score (Eybler and Süssmayr’s additions)
NMA report (German)
All Music Guide
Scores at Sheet Music Plus
Extra Information An Amen fugue, found on a sketch leaf along with a sketch for Rex Tremendae, was almost certainly intended as a final movement of the Sequence section.

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Masses by Wolfgang Amadeus Mozart