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Life of Mozart

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364 THE REQUIEM.Süssmayr's appointed task, therefore, was the composition"from his own head" (ganz neu) <strong>of</strong> the concluding part <strong>of</strong>the Lacrimosa, the Sanctus, Benedictus, and Agnus Dei;only "in order to give the work more unity" he repeated thefugue <strong>of</strong> the Kyrie with the words " cum Sanctis." The Requiemthus completed—the two first movements in <strong>Mozart</strong>'shandwriting, the remainder in Süssmayr's—was deliveredover to the owner.'' If it was intended that the latter shouldaccept the whole composition as by <strong>Mozart</strong>, appearanceswere certainly not calculated to undeceive him. The scorein question passed in 1838 into the possession <strong>of</strong> the ImperialLibrary.^ The first impression <strong>of</strong> every one who sees it, andwho is familiar with <strong>Mozart</strong>'s handwriting, must be that thewhole <strong>of</strong> it was written by him, and that the autograph <strong>of</strong><strong>Mozart</strong>'s Requiem in its entirety is before him.^ Closerexamination and comparison raise suspicion, many discrepanciesare discovered, although perhaps only triflingones, and the fact must be borne in mind that, to a questionaddressed to her on the subject, <strong>Mozart</strong>'s widow answered(February 10, 1839) ^^^-^ ^ ^'^^^ score <strong>of</strong> the Requiem in<strong>Mozart</strong>'s handwriting could not exist, since it was finishednot by him but by Süssmayr.A comparison <strong>of</strong> the manuscript with several scores undoubtedlywritten by Süssmayr—a terzet and bass air, composedby him in 1793 for insertion in the "Serva Padrona"— solved the riddle. It was the same handwriting, closelyresembling that <strong>of</strong> <strong>Mozart</strong>, with the same deviations from itwhich had been pointed out in the Requiem. There couldeinstimmung mit dem <strong>Mozart</strong>schen Original copirt hat, nebst Vorschrift undAnhang." The "Anhang" is a similar sketch <strong>of</strong> the Requiem and Kyrie,evolved by Andre himself— a curious idea and a very useless labour.''Stadler, Vertheidigung, p. 13.8 The sister and heiress <strong>of</strong> Count Walsegg, the Countess Sternberg, sold hiscollection <strong>of</strong> music to his steward, Leitner, from whom the score <strong>of</strong> the Requiemwas obtained by his clerk, Karl Haag; it was bequeathed by the latter toKatharina Adelpoller. Commissary Novak, <strong>of</strong> Schottwien, who had formerlybeen steward to Count Walsegg, drew the attention <strong>of</strong> Count Moritz von Dietrichstein,Imperial Librarian, to the existence <strong>of</strong> the treasure, and it was purchasedfor fifty ducats and placed in the Library.9 A. M. Z., XLL, p. 81. N. Ztschr. f. Mus., X., p. 10. Cäcilia, XX., p. 279.

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