"Requiem" - W.A Mozart

"...and said, "Truly I say to you, unless you are converted and become like children, you will not enter the kingdom of heaven...."  Matthew 18:3, Bible

WOLFGANG AMADEUS MOZART (1756-1791)

Was a prolific and influential composer of the Classical era. He composed over 600 works, many acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is among the most enduringly popular of classical composers... During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his death... The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death...

      Requiem in D minor, K.626

 

     "Requiem" - Ideological analysis

"Requiem" by Mozart - as a symbol of ideological analysis ... of music that reflects the state of the drama, and the idea of ​​phasing method… conceived or commissioned Mozart Requiem as a Catholic mass, but the resulting, perhaps, the most reassuring of all known work…

The first three parts of "Requiem" gives an image that perfectly corresponds with what is happening with correctable to treatment, prior to the correction process, a kind of humanitarian history…

It starts with the first part of «Requiem aetenam» (eternal peace), as it were with a person's birth, his childhood - with the "steps" that are cautious of becoming stronger and more confident, he turns, straightens, a palette of feelings becomes richer and more perfect. In the infantile Gracious melodies interject disturbing motives, talking about the big upcoming conflicts in life…

I. Introitus: Requiem aetenam

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.

Te decet hymnus, Deus, in Sion,

et tibi reddetur votum in Jerusalem.

Exaudi orationem meam:

ad te omnis caro veniet.

Requiem aeternam dona eis, Domine,

et lux perpetua luceat eis.

   1.Mozart's Requiem - I. Introitus-Requiem aeternam 

http://www.youtube.com/watch?v=DsyPhvrEzPU

 

In the second part, in the face of future trouble is, it would seem, prayer - asking for forgiveness «Kyrie eleison» (Lord have mercy), but not so simple ...

II. Kyrie eleison

Kyrie eleison.

Christe eleison.

From prayers are only words. Please pardon sounds demanding, imperative, and sometimes even threatening, but in the end triumphantly, there is no real repentance can not be held. An ambitious, arrogant youth can not be otherwise... The words are repeated, the melody as if walking on the same circle (fugue) - the problem is the image of cycling, is always present in a destructive system of relations ("the devil turns," "hell"). Destructiveness and evil is always doomed to repeat itself, circling in the same trajectory…

   Mozart - Requiem: 2. Kyrie eleison 

http://www.youtube.com/watch?v=tIhwX7jxBWM&feature=related

The peak of destruction, "funnel", which end in "hell" - a sort of catastrophe, disaster, disease. It is the third part of the state transfers - «Dies irae» (Day of Wrath), written by Mozart under the influence of the plague raged in Europe from the XIV to XVIII centuries., And claimed a total of 75 million lives. And just like the plague, rolled periodically, and personal negative, do not go all the suffering of cleaning on the same circle, in the devil's disastrous crazy carousel...

III. Sequentia: Dies irae

Dies irae, dies illa,

solvet saeclum in favilla,

teste David cum Sibylla.

Quantus tremor est futurus

quando judex est venturus,

cuncta stricte discussurus.

Day of wrath ... whose anger we have in mind? God? He who, Zeus - the god of thunder, that's looking for what would be punished? No. This suffering is not of God. A person willing to endure all sorts of suffering, if only to avoid further suffering. Afraid of moral suffering, clearing associated with the revaluation of values, spiritual regeneration, "Resurrection", and cyclic, at least familiar, but with death, or will judge ...

   3.Mozart's Requiem-III.Sequentia:Dies irae 

http://www.youtube.com/watch?v=ARO7ZjsXSkE&feature=relmfu

And he comes, but when the person wants this possibility when it comes to the position of confrontation with the destructiveness: "I ​​have nothing to lose, I'll go for anything, but as before I will not live." It was at this point, it amazes sound, solid and confident, inevitably calling "trumpet" - so the next part of the "Requiem." It is at such moments a person can appeal to ideological analysis...

IV. Tuba mirum

Tuba mirum spargens sonum

per sepulcra regionum,

coget omnes ante thronum.

Mors stupebit et natura.

Cum resurget creatura

judicanti responsura.

Liber scriptus proferetur

in quo totum continetur

unde mundus judicetur.

Judex ergo cum sedebit

quidquid latet apparebit:

nil inultum remanebit.

Quid sum miser tunc dicturus,

quem patronum rogaturus,

cum vix justus sit securus?

   4.Mozart's Requiem - Tuba mirum 

http://www.youtube.com/watch?v=z01Ihw_bqUM&feature=relmfu

So, all the bridges were burned, the devil is cast out, Judge on the throne - an idea that lives inside the human ... In the first stage of analysis for the corrected show through the relationship that he had not previously seen, he breaks away from the fixation on the material, and more and more affected the value of ideas in his life and the environment. This change is related to the intangible is expressed in the following part of the "Requiem" ...

V. Rex tremendae majestatis

Rex tremendae majestatis,

qui salvandos salvas gratis;

salva me, fons pietatis.

   5.Mozart's Requiem - Rex tremendae 

http://www.youtube.com/watch?v=-cqBJ51PQQQ&feature=relmfu

Then begins the painful stage of the analysis. Human suffers overestimating their past and present, seeing how much evil he has received from the outside and distributed it himself, for which he paid. On the one hand, there is a process of harmonization, streamlining, organizing, and on the other - it destroys that harmony, "destroys the destructive" - his old system of relations. He's trying to keep something, but the forces are less, "barrel" is spreading, nothing to plug. This reflects the law - the evil, destructive, when deprived of his enemy, and, in essence, an ally - a human contend its destructiveness to self and deletes itself. These conditions are reflected in the next section..

VI. Recordare

Recordare, Jesu pie,

quod sum causa tuae viae

ne me perdas illa die.

Quaerens me sedisti lassus;

redemisti crucem passus.

Tantus labor non sit cassus.

Juste Judex ultionis

donum fac remissionis

ante diem rationis.

Ingemisco tanquam reus:

culpa rubet vultus meus.

supplicanti parce, Deus.

Qui Mariam absolvisti

et latronem exaudisti,

mihi qouque spem dedisti.

Preces meae non sunt dignae,

sed tu bonus fac benigne,

ne perenni cremer igne.

Inter oves locum praesta

et ab haedis me sequestra,

statuens in parte dextra.

    6.Mozart's Requiem – Recordare 

http://www.youtube.com/watch?v=f9kp6pI3Or4&feature=relmfu

The process of moral suffering reaches its climax in the chorus of «Confutatis maledictis» (whoever curses overthrown) ... This is the "Calvary" ... Finally and irrevocably stuck arrows violin passages in the body, afflicted, possessed destructive. During this period of correction exacerbated not only moral, ideological feelings, and medical symptoms, there are those, which did not exist. Adjustable complains of deterioration. The music is expressed by exploding weak and powerless prayers: «Voca me ...»...

VII. Confutatis maledictis

Confutatis maledictis

flammis acribus addictis,

voca me cum benedictis.

Oro supplex el acclinis

cor contritum quasi cinis,

gere curam mei finis.

   7.Mozart's Requiem-Confutatis 

http://www.youtube.com/watch?v=AxwiLowC44I&feature=relmfu

If you go back to the image of "steps" of a person at the beginning of the Requiem, the «Confutatis» begins with a terrible, violent, if not - the mad step. This powerful march of times, stopping to rest, it sounds helpless «Voca me ...», and forward again: «Confutatis maledictis ...» Next step is exhaled, the image of human could barely move his legs, weaker and weaker, and at the end ... stop and drop a man fell to the ground - it sounds completely separate tertskvartakkord, chord - a sigh, looking for help. And then begins «Lacrimosa» (tear) - most probably the saddest piece of the famous...

VIII. Lacrimosa dies illa

Lacrimosa dies illa

qua resurget ex favilla

judicandus homo reus.

Huic ergo parce, Deus,

pie Jesu Domine:

dona eis requiem. Amen.

This is not the way of steps, it is creeping movement of the last forces of human. Incredible rhythm of "Lacrimosa" - almost "thready pulse" rare beats in 12 fractions, enters into a special experience of death is not a funeral march, it is something much deeper. Movements become weaker and weaker, and all end stop. The long underlined "Amen" is divided into two syllables, which ends with "Lacrimosa" - is like two stroke that put a final end to the old ending of life...

This point separates the "Requiem" in two radically different halves. The same thing happens when ideology correction: the negative end, suffering, begins a positive step... 

   8.Mozart's Requiem-Lacrimosa 

http://www.youtube.com/watch?v=JE2muDZksP4&feature=relmfu 

In "Requiem" is «Domine», and there are not any pictures of the afterlife, no longer infernal sounds. Out of "pacing", which began with the establishment of a children's «Requiem aetenam» and came to breaking the march, fight, fall in «Confutatis», and the last movements of crawling in the «Lacrimosa». Next - flying, higher and higher...

IX. Offertorium: Domine

Domine Jesu Christe, Rex gloriae,

libera animas omnium fidelium

defunctorum

de poenis inferni et de profundo lacu.

Libera eas de ore leonis,

ne absorbeat eas Tartarus,

ne cadant in obscurum.

Sed signifer sanctus Michael

repraesentet eas in lucem sanctam:

quam olim Abrahae promisisti

et semini eius.

In «Domine» reflects the state where the old has died out, and the new has not yet emerged. Discover striking vigorous freshness «Sed signifer sanctus Michael ...», there is room for tragedy, there is a positive assurance of a new desire, a kind of impatience that gets a little old, circular: «quam olim Abrahae promisisti ...», but that's not what we heard in «Kyrie», no longer the grim demands, and break off these "circles" beautiful code... The same thing happens with correctable: setbacks, he interrupts himself, and sometimes even laugh at themselves ...

   9.Mozart's Requiem: IV. Offertorium: Domine Jesu 

http://www.youtube.com/watch?v=0gGMZsPpGug&feature=relmfu

 

Further positive formation is presented in an unusually harmonious choir «Hostias». Where once there was a conflict, now - harmony. Instead of fighting with the bad, stands next to a good connection...

X. Hostias

Hostias et preces tibi, Domine,

laudis offerimus.

Tu suscipe pro animabus illis

quarum hodie memoriam facimus:

fac eas, Domine,

de morte transire ad vitam,

quam olim Abrahae promisisti

et semini eius.

Again, in the end breaks the circular «quam olim Abrahae promisisti ...», and again the same chime ends...

   10.Mozart's Requiem – Hostias 

http://www.youtube.com/watch?v=1b37MbFqhak&feature=relmfu

Next is a hymn to God: «Sanctus» (saint). A human comes to holiness - become a servant of the ideas, attitudes, kindness, love and happiness. ...

XI. Sanctus

Sanctus, sanctus, sanctus,

Domine Deus Sabaoth!

Pleni sunt coeli et terra gloria tua.

Hosanna in excelsis.

   11.Mozart's Requiem - V. Sanctus 

http://www.youtube.com/watch?v=vHw0hGvt3y4&feature=relmfu

The same reflects the following part: «Benedictus», but calmly, without the solemnity, the first excitement goes...

XII. Benedictus

Benedictus qui venit

in nomine Domini.

Hosanna in excelsis.

   12.Mozart's Requiem – Benedictus 

http://www.youtube.com/watch?v=SPI8yzBdmzI&feature=relmfu

The next section «Agnus Dei» (Lamb of God) manifests the essence of the new updated card: if you had actually been his own suffering, but now there is compassion, understanding yourself and others ...

XIII. Agnus Dei

Agnus Dei, qui tollis peccata mundi,

dona eis requiem.

Agnus Dei, qui tollis peccata mundi,

dona eis requiem sempiternam.

   13.Mozart's Requiem - VI. Agnus Dei 

http://www.youtube.com/watch?v=4-nW3j6FGyE&feature=relmfu 

Completes the product side, repeating the same motif, which begins with "Requiem", which draws the birth, childhood, becoming a human, but is now cleared of anxiety...

XIV. Communio Lux aeterna

Lux aeterna luceat eis, Domine,

cum sanctis tuis in aeternam,

quia pius est.

   14.Mozart's Requiem - VII. Communion: Lux aeterna 

http://www.youtube.com/watch?v=ovftir5lgwQ&feature=relmfu

    Maturity and perfection of human merged with childhood ... The genius of Mozart overcame time and showed that we can more or less justified only now - to overcome old age, sickness and death can only be based on the update human, its re-thinking of the lost children's characteristics (mobility, flexibility, agility ..) ...

 This is the meaning of the covenant of the Gospel, "Be as little children" ...

Any person, if entered into war with the bias-destructiveness (in religion - sinfulness), on their own experiences all the same stages, the same state... where the destruction of the reversible and pour in the update - "Resurrection," a qualitative leap, actualized in the life of an idealistic human of happiness, freedom, creativity, love ...

 

     "Dies Irae" (Day of Wrath) is a thirteenth century Latin hymn...

The Latin text below is taken from the Requiem Mass in the 1962 Roman Missal. The first English version below, translated by William Josiah Irons in 1849,[4] replicates the rhyme and metre of the original. The second English version is a more formal equivalence....

1	Dies irж! Dies illa Solvet sжclum in favilla: Teste David cum Sibylla!	Day of wrath! O day of mourning! See fulfilled the prophets' warning, Heaven and earth in ashes burning!	The day of wrath, that day Will dissolve the world in ashes As foretold by David and the sibyl!
2	Quantus tremor est futurus, Quando iudex est venturus, Cuncta stricte discussurus!	Oh, what fear man's bosom rendeth, when from heaven the Judge descendeth, on whose sentence all dependeth.	How much tremor there will be, when the judge will come, investigating everything strictly!
3	Tuba mirum spargens sonum Per sepulchra regionum, Coget omnes ante thronum.	Wondrous sound the trumpet flingeth; through earth's sepulchers it ringeth; all before the throne it bringeth.	The trumpet, scattering a wondrous sound through the sepulchres of the regions, will summon all before the throne.
4	Mors stupebit, et natura, Cum resurget creatura, Iudicanti responsura.	Death is struck, and nature quaking, all creation is awaking, to its Judge an answer making.	Death and nature will marvel, when the creature arises, to respond to the Judge.
5	Liber scriptus proferetur, In quo totum continetur, Unde mundus iudicetur.	Lo! the book, exactly worded, wherein all hath been recorded: thence shall judgment be awarded.	The written book will be brought forth, in which all is contained, from which the world shall be judged.
6	Iudex ergo cum sedebit, Quidquid latet, apparebit: Nil inultum remanebit.	When the Judge his seat attaineth, and each hidden deed arraigneth, nothing unavenged remaineth.	When therefore the judge will sit, whatever hides will appear: nothing will remain unpunished.
7	Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix iustus sit securus?	What shall I, frail man, be pleading? Who for me be interceding, when the just are mercy needing?	What am I, miserable, then to say? Which patron to ask, when [even] the just may [only] hardly be sure?
8	Rex tremendж maiestatis, Qui salvandos salvas gratis, Salva me, fons pietatis.	King of Majesty tremendous, who dost free salvation send us, Fount of pity, then befriend us!	King of tremendous majesty, who freely savest those that have to be saved, save me, source of mercy.
9	Recordare, Iesu pie, Quod sum causa tuж viж: Ne me perdas illa die.	Think, good Jesus, my salvation cost thy wondrous Incarnation; leave me not to reprobation!	Remember, merciful Jesus, that I am the cause of thy way: lest thou lose me in that day.
10	Quжrens me, sedisti lassus: Redemisti Crucem passus: Tantus labor non sit cassus.	Faint and weary, thou hast sought me, on the cross of suffering bought me. shall such grace be vainly brought me?	Seeking me, thou sat tired: thou redeemed [me] having suffered the Cross: let not so much hardship be lost.
11	Iuste iudex ultionis, Donum fac remissionis Ante diem rationis.	Righteous Judge! for sin's pollution grant thy gift of absolution, ere the day of retribution.	Just judge of revenge, give the gift of remission before the day of reckoning.
12	Ingemisco, tamquam reus: Culpa rubet vultus meus: Supplicanti parce, Deus.	Guilty, now I pour my moaning, all my shame with anguish owning; spare, O God, thy suppliant groaning!	I sigh, like the guilty one: my face reddens in guilt: Spare the supplicating one, God.
13	Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti.	Thou the sinful woman savedst; thou the dying thief forgavest; and to me a hope vouchsafest.	Thou who absolved Mary, and heardest the robber, gavest hope to me, too.
14	Preces meж non sunt dignж: Sed tu bonus fac benigne, Ne perenni cremer igne.	Worthless are my prayers and sighing, yet, good Lord, in grace complying, rescue me from fires undying!	My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire.
15	Inter oves locum prжsta, Et ab hжdis me sequestra, Statuens in parte dextra.	With thy favored sheep O place me; nor among the goats abase me; but to thy right hand upraise me.	Grant me a place among the sheep, and take me out from among the goats, setting me on the right side.
16	Confutatis maledictis, Flammis acribus addictis: Voca me cum benedictis.	While the wicked are confounded, doomed to flames of woe unbounded call me with thy saints surrounded.	Once the cursed have been rebuked, sentenced to acrid flames: Call thou me with the blessed.
17	Oro supplex et acclinis, Cor contritum quasi cinis: Gere curam mei finis.	Low I kneel, with heart submission, see, like ashes, my contrition; help me in my last condition.	I meekly and humbly pray, [my] heart is as crushed as the ashes: perform the healing of mine end.
18	Lacrimosa dies illa, qua resurget ex favilla Iudicandus homo reus. Huic ergo parce, Deus:	Ah! that day of tears and mourning! From the dust of earth returning man for judgment must prepare him; Spare, O God, in mercy spare him!	Tearful will be that day, on which from the ash arises the guilty man who is to be judged. Spare him therefore, God.
19	Pie Iesu Domine, dona eis requiem. Amen.	Lord, all pitying, Jesus blest, grant them thine eternal rest. Amen.	Merciful Lord Jesus, grant them rest. Amen.

Pie Jesu is a motet derived from the final couplet of the Dies irae and often included in musical settings of the Requiem Mass....

 

Volfgangas Amadėjus Mocartas (Johann Chrysostomus Wolfgangus Theophilus Mozart; 1756 m. sausio 27 d. Zalcburge – 1791 m. gruodžio 5 d. Vienoje) – austrų kompozitorius, vienas žymiausių ir įtakingiausių klasicistinės muzikos kompozitorių...

Requiem Mass in D minor (K. 626) – viena žymiausių Volfgango Amadėjaus Mocarto kompozicijų, užbaigta 1791 m. Tai buvo paskutinis Mocarto muzikinis darbas, tačiau liko nepabaigtas. Po Mocarto mirties Requiem užbaigė jo kolega Franz Xaver Süssmayr....

       "...ir tarė: 'Iš tiesų sakau jums: jeigu neatsiversite ir nepasidarysite kaip maži vaikai, niekaip neįeisite į dangaus karalystę..."  Mato 18,3 Biblija