Modern completions of Mozart's Requiem
This article lists some of the modern completions of the Requiem by Wolfgang Amadeus Mozart. Liturgical completions. For the first performance of the Requiem in Rio de Janeiro on December 1819, Austrian composer Sigismund von Neukomm constructed a movement based on material in the Süssmayr version. Incorporating music from various movements (including the "Requiem aeternam", "Dies irae", "Lacrymosa", and "Agnus Dei"), the bulk of the piece is set to the "Libera me", a responsory text traditionally is sung after the Requiem Mass, and concludes with a reprise of the "Kyrie" and a final "Requiescat  in pace". A contemporary of Neukomm and a pupil of Mozart's, Ignaz von Seyfried, composed his own Mozart-inspired "Libera me" for a performance at Ludwig van Beethoven's funeral in 1827. The "Amen" fugue. In the 1960s, a sketch for an "Amen" fugue was discovered, which some musicologists (Levin, Maunder) believed Mozart intended as a conclusion of the sequence after the "Lacrymosa". H. C. Robbins Landon argued that the "Amen" fugue was not intended for the Requiem, but rather "may have been for a separate unfinished mass in D minor" to which the Kyrie K. 341 also belonged . There is, however, compelling evidence placing the "Amen" fugue in the Requiem based on current Mozart scholarship. First, the principal subject is the main theme of the Requiem (stated at the beginning and throughout the work) in strict inversion. Second, the fugue is found on the same page as a sketch for the "Rex tremendae" (together with a sketch for the overture of his last opera, "The Magic Flute"), and thus dates from late 1791. The only instance of the word "Amen" occurring in anything Mozart wrote in late 1791 is in the Requiem sequence. Third, as Levin points out  in the foreword to his completion, the addition of the "Amen" fugue at the end of the sequence would maintain an overall pattern that closes each large section with a fugue, a design that appears intentional. Many composers attempting a Requiem completion used the sketch for the "Amen" fugue discovered in the 1960s to compose a longer and more substantial setting for concluding the sequence. In the Süssmayr version, "Amen" is set as a plagal cadence with a Picardy third (iv–I in D minor) at the end of the "Lacrymosa". Only Jones and Suzuki combined the two, ending the  fugue with a variation on the concluding bars of Süssmayr's "Lacrymosa" as well as the plagal cadence. Completions since the late 20th century. Since the 1960s several composers and musicologists, usually dissatisfied with the traditional "Süssmayr" completion, have attempted alternative completions of the Requiem. Each version follows a distinct methodology for the whole requiem or only for single movements. Non-musicological completions. Completions that didn't try to emulate Mozart's style, but rather, completed the requiem with the style of the editor.