Requiem

Requiem (pronounced rek-wee-um)

(1) A form of religious service (sometimes called a Requiem Mass) celebrated for the repose of the souls of the dead.

(2) A musical composition, hymn, or dirge for the repose of the dead.

1275-1325: From the Middle English requiem (mass for repose of the soul of the dead), from the Latin requiem, accusative singular of requiēs (rest, repose (after labour)) from the opening of the introit, Requiem aeternam dona eis (Rest eternal grant unto them).  The construct was re- (used here as an intensive prefix) + quies (quiet) (from a suffixed form of the primitive Indo-European root kweie- (to rest; be quiet). In Latin, the formal descriptions, Missa pro defunctis (Mass for the dead) or Missa defunctorum (Mass of the dead) were both used and requium was the first word of the Mass for the Dead in the Latin liturgy: Requiem æternam dona eis, Domine .... (Rest eternal grant them, O Lord ....).  In the Roman Catholic Church, the requiem ritual (Roman Missal) was revised during Vatican II and since 1970 has used this phrase as the first entrance antiphon.  Like many of the changes wrought by the Second Vatican Council (Vatican II, 1962-1965, published 1970) the newer rituals weren’t always adopted.  Although Rome pointed out the term Requiem Mass was never official terminology, resistance to replacing it with the preferred Mass of the Resurrection continues to this day.  By the early seventeenth century requium was used to describe any dirge or solemn chant for repose of the dead.

Part of Mozart’s original score for the Requiem

Wolfgang Amadeus Mozart's (1756–1791) Requiem in D minor is probably the best known requiem, famous less for its musical qualities than the legends and myths which surround its composition.  Mozart wrote part of the work in Vienna in late 1791, but it was unfinished at his death on 5 December that year.  A completed version (dated 1792), by Austrian composer and conductor Franz Xaver Süssmayr (1766-1803) was delivered to the noted amateur musician Count Franz von Walsegg (1763–1827) who had commissioned the piece to commemorate the anniversary of his wife's death.

Constanze Mozart (1782) by Joseph Lange (1751–1831).

Mozart's widow Constanze (1762-1842) was responsible for a number of tales including the claims that Mozart received the commission from a messenger who did not reveal his or the commissioner's identity, and that Mozart came to believe that he was writing the requiem for his own funeral.  Mozart received only half the payment in advance, so upon his death his widow Constanze ensured the work completed by someone else so the balance of the bill could be collected.  Exactly who was responsible for what remains controversial among musicologists and historians although the most usually performed version (Süssmayr) is widely accepted as the standard version.

Adding to the romance attached to Mozart's requiem is that so distraught was the count at the death of his young wife, although himself only twenty-eight, he would never re-marry.

Mozart's Requiem in D minor, Berliner Philharmoniker under Herbert von Karajan, 1976.