"'When was the score of the Requiem completed?' is a question that everyone has asked; . . .but Wolff goes on to ask: 'Where do the technical and stylistic premises for the Requiem lie, and to what extent could these be taken into account after Mozart's death?' This question is rich in implications, central to the uniqueness of the work, and virtually undiscussed in the Mozart literature."—Thomas Bauman, co-author of Mozart's Operas
A collection of essays on music and life by the famed classical pianist and composer Stephen Hough is one of the world’s leading pianists, winning global acclaim and numerous awards, both for his concerts and his recordings. He is also a writer, composer, and painter, and has been described by The Economist as one of “Twenty Living Polymaths.” Hough writes informally and engagingly about music and the life of a musician, from the broader aspects of what it is to walk out onto a stage or to make a recording, to specialist tips from deep inside the practice room: how to trill, how to pedal, how to practice. He also writes vividly about people he’s known, places he’s traveled to, books he’s read, paintings he’s seen; and he touches on more controversial subjects, such as assisted suicide and abortion. Even religion is there—the possibility of the existence of God, problems with some biblical texts, and the challenges involved in being a gay Catholic. Rough Ideas is an illuminating, constantly surprising introduction to the life and mind of one of our great cultural figures.
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When Mozart died in 1791, he left unfinished the score of his Requiem. At the request of his widow, the work was completed by Mozart's pupil and assistant, Franz Xaver Süssmayr. Unfortunately, Süssmayr was a musician of limited technique and ability--his poor orchestration has frequently been criticized, and considerable controversy has surrounded the question of whether the movements missing from Mozart's autograph were entirely Süssmayr's work, or whether he might have based them on Mozart's sketches or oral instructions. This book is an intensive new study of the background to the Requiem and the music itself. Maunder, who after many years' research has recently completed a new edition of the Requiem that attempts to be more faithful to Mozart's original intentions, presents detailed arguments concerning the authenticity of the doubtful movements, the editorial decisions he faced in preparing the new edition, the settings by other composers that may have influenced Mozart, and the problems of performance practice. He concludes that Süssmayr probably did write the disputed movements, but may have used a now-lost Mozart sketch in composing the Agnus Dei. This fascinating new study of one of classical music's best-loved works will interest a wide range of music students and scholars, and general readers.
This volume seeks to address the needs of teachers and advanced students who are preparing classes on the Middle Ages or who find themselves confounded in their studies by reference to the various liturgies that were fundamental to the lives of medieval peoples. In a series of essays, scholars of the liturgy examine The Shape of the Liturgical Year, Particular Liturgies, The Physical Setting of the Liturgy, The Liturgy and Books, and Liturgy and the Arts. A concluding essay, which originated in notes left behind by the late C. Clifford Flanigan, seeks to open the field, to examine liturgy within the larger and more inclusive category of ritual. The essays are intended to be introductory but to provide the basic facts and the essential bibliography for further study. They approach particular problems assuming a knowledge of medieval Europe but little expertise in liturgical studies per se.
Mozart's Requiem Mass in D Minor, K.626, as we now have it, is actually the work of several composers since Mozart died before its completion. It is especially puzzling because of the uncertainty of its origins. This choral score contains the choir and soloist parts, with a piano reduction of the orchestral parts. The text is in Latin, and the Table of Contents lists the 12 sections and adds the text of each of them in the description. Includes: Requiem * Dies Irae * Tuba Mirum * Rex Tremendae * Recordare * Confutatis *Lacrymosa * Domine Jesu * Hostias * Sanctus * Benedictus * Agnus Dei.
