One Requiem - many versions

After two decades of intensive study of the work, Howard Arman has incorporated his findings into its completion with caution and respect for Mozart's great model.

Arman's approach proves to be particularly fruitful in that he orients himself - always aware of the limits of his own post-creative activity - to typical features of Mozart's genius as a composer: his technical perfection in composition, his search for ever new approaches to every situation and his concise treatment of the text with extremely rich harmonies. As a result, this leads to many a new listening experience.

Arman's version has already proven itself in practice. The world premiere with the Bavarian Radio Choir was enthusiastically received by audiences and the press - and celebrated as a scholarly, completely new take on Mozart's masterpiece.

It is the classic among the completions and the most frequently performed to this day: the Süßmayr version. After Mozart's death in December 1791, the widowed Constanze Mozart turned to his friends and pupils with the request to complete the fragment. After two unsuccessful attempts, the task fell to Mozart's pupil Franz Xaver Süßmayr, who completed the Requiem in the form we know today.

He had at his disposal workshop material that is now lost, and perhaps also oral instructions from Mozart. This version is still the best-known today and is undoubtedly the closest to Mozart historically.

Over the last decade a number of musicians have attempted to cleanse the Requiem of the deficiencies introduced by Süßmayr. The completion published here takes into account the tendencies of the newer versions (such as revised instrumentation, or recomposition of some parts). At this the character, texture, voice leading, continuity and structure of Mozart's music was observed.

This edition of Mozart's final work starts afresh from Mozart's incomplete score, omitting the continuations and orchestrations by Joseph Eybler and Franz Xaver Süßmayr, who were engaged by Mozart's widow, Constanze, to complete the setting. The orchestration has been reworked throughout by Richard Maunder, and the 'Lacrymosa' has been given a new continuation. Süssmayr's Sanctus and Benedictus movements have been included as an appendix.

Frieder Bernius offers an interpretation at the highest artistic level of Mozart’s final work. He recorded the 1981 version of the Requiem by Franz Beyer, in which the additions by Franz Xaver Süssmayr are left largely intact. However, the instrumentation of the final movements has been improved.

“One hears many things as if for the first time. On top of everything, the sound quality of the live recording made in the Stuttgarter Liederhalle is fantastic.” Stuttgarter Zeitung

Awarded the Diapason d'Or

Mozart's Requiem in Howard Arman's version can be heard separately - or in conjunction with the Vesperae solennes de Confessore and Neukomm's newly composed Libera me, Domine in an unusual but thoroughly convincing compilation.

The second CD 'Wege zur Musik' offers an introduction to Mozart's Requiem by Markus Vanhoefer, spoken by Christian Baumann, Hans Jürgen Stockerl, Norman Hacker, Franziska Ball and Katja Schild.

This introduction to the work is supplemented by excerpts from an informative interview with Howard Arman.

With our practice app carus music, choir singers can easily practise the work for themselves. Choose your vocal range and practise the work on your smartphone, tablet or PC today!

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