cybot wrote:Thanks for that Fergus. I would have to agree with you in relation to the 'weak' spots later on in the work. I can't pinpoint them now but I did notice something not quite Mozartian in certain places. Interesting what you said about the financial situation too. One wonders.....fergus wrote:
It is indeed a truly magnificent work Dermot so from that point of view it does not bother me that it was finished by the pupil. Enough of the work was completed by the master for the pupil to build on. I think, however, that if one listens carefully one hears the weak spots later on in the work where Mozart had only outlined the work whereas he had fully scored the beginning.
It is frightening to think that probably the only reason that the Requiem was completed is that Constanze Mozart was in dire financial straights after her husband’s death; otherwise I often wonder if Mozart had left money upon his death would she have asked Sussmayr to complete it?
My comments were aimed more at the mastery of Mozart rather than at any deficiencies on Sussmayr’s part I might add. After all, a difficult act to follow to be honest!
