Mozart: Requiem "Confutatis" (New Completion ed. Keitamo)

Working draft of new edition of Mozart's Requiem, K 626. Please see notes below for descriptions of this work-in-progress. (Synthesized instruments using Notion application. SATB voiced on piano to highlight orchestration.)

Unlike most of the other numbers in this edition, the Confutatis is a subtle divergence from previous editions. The editor decides to retain the trumpets and timpani from the Süßmayr version with slight alterations. Sustained woodwinds support the two-voice fugue, similar to the Eybler version.

Editor omits Sussmayr's quavers in the violins at bars 6 and 16, opting for quavers more consistent with the string ostenatos throughout. Also in these bars, the winds are rewritten for cleaner modulations and voice leading. These passages are given to the bassoons, creating a sounds similar to certain passages in the Kyrie in D-Minor K 341.

Summary of the rest of this new completion of the Requiem:
1. Requiem Aeternam: Unchanged from the Süßmayr
2. Kyrie: Alterations to trumpets and timpani
3. Dies Irae: Orchestration influenced by La Clemenza di Tito (Act I finale), Don Giovanni (Act II finale), Die Zauberflöte (“Die Hölle Rache”)
4. Tube Mirum: La Clemenza di Tito (“Deh per questo istante solo”), Die Zauberflöte (“Dies Bildnis ist bezaubernd schön”)
5. Rex Tremendae: Thamos, König in Aegypten (“Gottheit, über alle Mächtig”)
6. Recordare: Die Zauberflöte (various numbers)
7. Confutatis: Minor stylistic alterations
8. Lacrymosa: New completion based on Idomeneo (“O voto tremendo”), Solfeggios for voice
9. Amen: New completion
10. Domine Jesu: Veseprae Solennes de Confessore (“Confitebor”)
11. Hostias: Minor stylistic alterations
12. Sanctus [APPENDIX]: Re-composed following Tito (“Che del ciel”)
13. Benedictus [APPENDIX]: Re-composed following the Barbara Ployer Notebook, K. 453b
14. Agnus Dei: Parody based on Kyrie in D-minor, K 341. Editor aims to use as much known authentic Mozartian material as possible, with parody (reworking for text to preexisting music) being a common practice in the 18th century.
15. Lux Aeterna: Minor stylistic changes, with the final fugue ending in a picardy third