Talk:Requiem, KV 626 (Wolfgang Amadeus Mozart)

Errors in Paco Marmol and Manolo Casaus's editions

PLEASE NOTE THAT: some of those errors I reported are only mistakes that must be corrected (and I put them in bold); others could have just been taken from particular editions of the Requiem that rearranged a little the lyrics. In my opinion CPDL, for phylological (and eventually copyright, if those editions are recent) reasons should have the Requiem lyrics as Mozart wrote them in the manuscript.

But probably the best choice is to just file the "corrected" Kyrie - introitus (and eventually the Confutatis) as a new version.

PLEASE ALSO NOTE THAT: I could (and would like to) take care of this new version (and do the "not bolded" modifications) if someone could convert Encore files to one of the following formats: Lilypond, MusicXML, Finale, and send them to me: toobaz [at] email [dot] it.

PLEASE FINALLY NOTE THAT: there is another error in Kyrie, measure 70: a bemol is missing on altos' last note (an E). However, I already wrote to Paco Marmol describing this particular error, and maybe he'll already have corrected it when you read this.

--Toobaz 04:39, 22 January 2007 (PST)

Furthermore, a comparison of vocal parts has been performed between this CPDL edition and other three editions: Peters Nr. 76 [PET]; Bärenreiter BA 4538 [BÄR]; and the Neue Mozart-Ausgabe [NMA] available on-line at the Mozarteum web site. Text in italics hereinbelow provide information about the results of such a comparison. Generally speaking, the CPDL edition appears closer to [PET], while [BÄR] and [NMA] appear closer to the original manuscript. Further details about the differences between [PET] and [BÄR] can be found on the "CMS Catalogue" or "VS Catalogue" pages of the Choralia web site, where choir training aids compliant with such editions are available.

--Choralia 05:00, 3 September 2007 (PDT)

Kyrie - introitus

• In measure 12, altos should say "mi-ne-do-na-e-e", instead it is written "mi-ne-do-na-do-na". Note that the A should have "legato" with the one in measure 13. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• In measure 35, altos should say "do-o-o-o-na-a-a-a", instead it is written "do-o-o-o-o-o-na-a". The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for sopranos in measure 36. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• In measure 56, tenors should start "i" one eight before than it is written (it should last 2 eights, not 1). The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for sopranos in measure 59. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for sopranos in measure 82. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for bassos in measure 83. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for tenors in measure 83. Probably this is measure 84 rather than 83. If so, the same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for altos in measure 85. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• Same applies for sopranos in measure 86. The same difference exists between [PET] with respect to [BÄR] and [NMA].
• In measure 75 (last note) and in the first 3 eights of 76, bassos should keep singing "e", not repeat "i-son-e-le". The same difference exists between [PET] with respect to [BÄR] and [NMA].
• In measure 65, altos should start the "Ky" one eight after (and note should durate 2 instead of 3 eights). [PET], [BÄR] and [NMA] agree upon this correction.
• In measure 70, the last note should be E flat rather than E natural. [PET], [BÄR] and [NMA] agree upon this correction.

Rex tremendæ

• In measure 13, second eight, piano's left hand has a "A-G" chord: instead it should be "G-G" (an octave).
• In measure 18, fourth eight, piano's left hand: the natural sign on E is OK, but there should also be a sharp on C.

Confutatis

• In measure 5, the tenors' 4th note (a D) should have a sharp.
• In measure 35, all notes are right but all notations are wrong: bassos should have Db, not C# (and it applies even in measure 34); tenors should have Cb - Gbb, not G - A; altos should have F - Gb, not E# - F#; sopranos should have Ab - Gb, not G# - F#.

--Toobaz 04:39, 22 January 2007 (PST)

Lacrymosa

• In measure 14, bassos' last note whould be, as for the other section, without dot (and a 1/8 pause should be added).
• In measure 26, altos has wrong lyrics: it should repeat "do-na-e-is", and then start "re" at the first note of measure 27.

Domine

• In measure 18, tenors: last note is E, it should be F
• In measure 21, there should be a big "M" to indicate a new "part" (this is obviously not Mozart's work, but there are L and N, with no M in the middle!)
• In measure 43, altos: the tempo is 1/4+1/8, 1/16, 1/16, it should be 1/4, 1/8, 1/8
• same applies, still for altos, in measure 60
• In measure 57, sopranos: last note is Eb, it should have no bemol

--Toobaz 13:40, 19 February 2007 (PST)

Hostias

• In measure 19, bassos: lyrics are "mo-ri-i-am", they should be "mo-o-ri-am"
• In measure 57, altos: second note and following should be marked as C sharp, not D bemol.
• same applies for sopranos at 61
• same applies for bassos at 76
• In measure 57, 2 notes with wrong notation: tenors' "bra-he" should be 2 C#, not Db.
• In measure 68, sopranos: last note is a Eb; it should have not bemol

Agnus

• In measure 19, bassos: last note is a F, it should be instead a A (1 1/2 tones over)
• In measure 68, altos: lyrics are "do-o-o-o-o-o-na-a", they should be "do-o-o-o-na-a-a-a"
• same applies for sopranos at 69
• In measure 73, tenors: between the first two notes and the last two, a 1/4 rest is missing
• In measure 103, last note is E; is should have a bemol
• In measure 132, bassos: lyrics are "pi-us pi-us", they should be "qui-a pi-us".