Life of Mozart

386 THE REQUIEM.The second part (Hostias et preces) has a much morecomposed character, as becomes the offering by the spirit ofits sacrifice to the Almighty. The idea, therefore, of stilllingering disquiet is left to be expressed by the syncopatedpassage for the violins, the voices going together almostthroughout the movement, and declaiming the words withstrikingly appropriate expression. The very simplicity ofthis movement reveals the hand of the master, and gives itan individuality especially noticeable at the words "tu suscipepro animabus illis, quarum hodie memoriam facimus."Thus far a reference to Mozart's own manuscript suffices todetermine how much was left to Süssmayr's carrying out.Although sufficient indications were given even of the moreelaborateand independent instrumental parts to serve as aguide to a well-educated musician, yet the example adducedabove shows how much freedom in matters of detail was leftfor the further elaboration; and, not to mention various oversights,it is probable that had Mozart completed the compositionmany delicate touches would have been addedto the accompanying parts which cannot now be evenconjectured. Very few indications are given for the windinstruments, and even if Mozart gave verbal instructionsconcerning them, much must still remain in doubt. Itmust be allowed, however, that Süssmayr's share in thework has been on the whole successfully performed ; it isquite in keeping with the rest, and he has plainly refrainedfrom making any alterations or surreptitious interpolations.With the last three movements we enter the domain ofconjecture, if we are to reject the positive testimony ofSiissmayr, supported by Mozart's widow, as to the shareof the former in the work. Rochlitz, reviewing Süssmayr'sletter on the subject, remarks that "the works already knownto be by Herr Süssmayr subject his claim to an importantshare in this great composition to considerable doubt ";^^and he expressed his suspicions more decidedly at a latertime.^*' G. Weber, who failed to recognise Mozart in manyesA. M. z., IV., p. 4.ßs Cäcilia, IV., p. 289. A. M. Z., XXV., p. 687.