Mozart Requiem - Final Listening Assignment	William Wieland
To practice extended listening and to prepare for the final exam, please find 50 uninterrupted minutes and listen to Mozart’s Requiem in its entirety. As you listen, follow the score, your class notes and the following listening guide. How has your listening experience changed now that you know a little more about the work? Requiem – The head or first pitches of the opening theme, D – C sharp – D – E – F, return in the choral bass of the "Agnus Dei". The opening is a fugato section. (It resembles a fugue.) Kyrie – See your class notes. Dies Irae – Unlike many concert choral works, Mozart's Requiem includes no solo arias. Tuba Mirum – This movement begins with one of the most famous trombone solos. Online Trombone Journal article   Two trombonists discuss the solo. Rex Tremendae – See Mozart Requiem Canon Assignment and your class notes. Recordare – See Mozart Requiem Canon Assignment and your class notes. Confutatis – The simple soprano / alto passage defines tonality with mi-fa-mi above do-ti-do in the relative major. Lacrimosa – See Mozart Requiem "Lacrimosa" Analysis Assignment and your class notes. Domine Jesu – "Ne absorbeat" and "Sed signifier" are canonic. "Quam olim Abrahae" is a fugue. Hostias – The "Quam olim Abrahae" fugue is identical to that which ends the "Domine Jesu". Sanctus – The choral soprano opening is a major variant of the "Dies Irae". (Harnoncourt, p. 9) This is the shortest movement. The "Osanna" fugue theme is a variant of the "Quam olim Abrahae" fugue theme. Benedictus – The "Osanna" fugue is like that which ends the "Sanctus" but transposed to B flat. Agnus Dei – The beginning of the choral bass quotes the head, D – C sharp – D – E – F, of the opening theme. Communio – The "Lux aeterna" is the opening "Te decet" with different words. The following fugato "Requiem" is identical to its counterpart in the opening. The "Cum sanctis" fugue is the "Kyrie" Fugue with different words. The "Kyrie" and therefore the entire work ends with an open fifth, D – A, rather than a major or minor triad.
Finally, the legend and truth surrounding the composition of Mozart's Requiem is fascinating. I encourage you to read one of the countless articles, e.g. Classical Notes: Mozart Requiem by Peter Gutmann