Mozart – Requiem in d-Moll K 626 1791 Sequentia Lacrimosa Dies Illa (Klavier solo arr. Noten)

Mozart – Requiem in d-Moll K 626 1791 Sequentia Lacrimosa Dies Illa Klavier solo arr. Noten (sheet music)

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Die Lacrimosa ist der letzte Teil der Sequentia Dies Irae. Es wird von vielen Komponisten wie Mozart (KV 626), Berlioz oder Verdi in ihren Totenmessen oder Requien verwendet.

Text

Lacrimosa dies illa
Qua resurget ex favilla
Judicandus homo reus.
Huic ergo parce, Deus:
Pie Jesu Domine,
Dona eis requiem. Amen.

English translation

Full of tears will be that day
When from the ashes shall arise
The guilty man to be judged;
Therefore spare him, O God,
Merciful Lord Jesus,
Grant them eternal rest. Amen.

Das Requiem in d-Moll (KV 626) von 1791 ist Wolfgang Amadeus Mozarts letzte Komposition. Obwohl nur etwa zwei Drittel davon tatsächlich von Mozart stammen, ist es eines seiner beliebtesten und angesehensten Werke. Mozart starb während der Komposition.

Als Auftragswerk vollendeten Joseph Eybler und Franz Xaver Süssmayr, ein Schüler Mozarts, das Requiem im Auftrag von Constanze Mozart, der Witwe des Komponisten. Die Entstehungsgeschichte und die Qualität der späteren Ergänzungen werden seit langem heiß diskutiert. Auch die ungewöhnlichen Umstände des Kompositionsauftrags und der zeitliche Zusammenhang zwischen dieser Messe und Mozarts frühem Tod haben zu üppiger Mythenbildung angeregt.

Das Dies irae setzt kraftvoll ein, mit vollem Orchester und Chor, ohne Einleitung. Die kraftvollen Chorrufe werden durch ein Tremolo im Orchester und synkopierte Einwürfe in den Refrains geerdet und verstärkt. Darauf folgen schnelle chromatische Sechzehntelläufe der ersten Violinen bis hin zu erneuten Choreinsätzen.

Eine wirkungsvolle Passage ist der dreimal wiederholte „zitternde“ Wechsel von Gis und A in Achtelnoten, unisono vorgetragen von Basso continuo, Violinen in tiefer Lage und Chorbass zum Text Quantus tremor est futurus („Was zittern will be’, nämlich am Dies irae, am Tag des Jüngsten Gerichts) – hier hat sich Mozart offenbar von dem Text inspirieren lassen.

Dies gilt auch für den nächsten Satz Tuba mirum, der – in Anlehnung an die übliche deutsche Übersetzung von Tuba mit Posaune – von gebrochenen Dreiklängen der unbegleiteten Soloposaune in B-Dur, einem Medianten von d-Moll, eingeleitet wird. Nach zwei Takten setzt der Solobass imitierend ein. In Takt 7 folgt eine Fermate – die einzige Stelle, die für eine Solokadenz in Frage käme.

Der Solo-Tenor tritt in den letzten Schritt des Bass-Solo ein, gefolgt von Solo-Alt und Solo-Sopran, jeweils in ziemlich dramatischer Weise. Mit dem Text Cum vix justus sit securus („Wenn kaum der Gerechte sicher ist“) geht das Stück in einen homophonen Satz der vier Solostimmen über, die „cum“ und „vix“ unbegleitet auf der 1. und 3.

Taktbetonung artikulieren , während auf den „schwachen“ Takten 2 und 4 Violinen und Continuo antworten; dieses „Hängen“ (das vom Text her als ein Hängen vor dem Jüngsten Gericht interpretiert werden könnte) erklingt einmal gedämpft (sotto voce), dann forte und sofort wieder piano, woraufhin ein Crescendo in die Schlusskadenz überleitet.

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Eine scharf punktierte absteigende Tonfolge im Orchester kündigt den „König der erschreckenden Majestät“ (Rex tremendae majestatis) an, der dreimal mit mächtigen Chorakkorden auf der Silbe Rex in den Orchesterpausen angerufen wird. Dann übernimmt der Chor den punktierten Rhythmus des Orchesters, der in der Barockmusik als „Topos der Herrscherhuldigung“ (Wolff) bekannt war.

Der Satz hat nur 22 Takte, ist aber auf dieser kurzen Strecke sehr abwechslungsreich: Homophone und kontrapunktische Chorpassagen wechseln sich mehrfach ab und münden schließlich in eine fast unbegleitete Chorkadenz, die wiederum in einem terzlosen Ton auf D endet (wie in der Kyrie).

Es folgt der längste Satz des Werks mit 130 Takten (und der erste im ungeraden Takt, nämlich im Dreivierteltakt), das Recordare, in dem nicht weniger als sechs Strophen des Dies irae verwendet werden. In einer dreizehntaktigen Einleitung präsentieren die Bassetthörner zunächst das ausgehaltene Thema, worauf die Streicher mit absteigenden Tonleiterläufen antworten, die bereits in den Celli zu hören waren.

Diese Einleitung erinnert an den Beginn des gesamten Werkes, ebenso die rhythmischen und melodischen Verschiebungen (Bassetthorn I tritt nach Bassetthorn II in einen Takt ein, aber einen Ganzton höher; Violinen II gegenüber Violinen um ein Viertel verschoben ich usw.). Dann setzt das Soloquartett ein, in immer neuen Stimmkombinationen, wobei die immer wieder neu differenzierten Wechselbilder zwischen den Stimmen besonders beeindruckend sind.

Wie Erich Prieger 1910 feststellte, ist der thematische Kopf des Recordare weitgehend identisch mit einer Passage aus Wilhelm Friedemann Bachs Sinfonia d-Moll (= Adagio und Fuge für zwei Traversflöten, Streicher und Continuo, Fk 65, Takt 32ff). Anders als bei Introitus und Kyrie verwendet Christoph Wolff hier jedoch kein bewusstes Zitat, sondern eine Anleihe beim „damals üblichen musikalischen Vokabular“.

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