Steve Schwartz <[log in to unmask]> wrote:

>Furthermore, Mozart's widow was the one who denigrated Suessmayr,
>as part of her marketing strategy.  I wouldn't trust anything she said.
>She also, if I recall correctly, destroyed all the original sketches to
>hinder discovery as to who composed what.

The complete autograph survives, and there are sketches that also survive:
e.g. the great AMEN fugue that was to round out the Sequence.  There are
sketches also for the Rex Tremendae section.  Apparently it was the
fugues that forced Mozart to bother with sketches.

The autograph score is easily figured out as to who wrote what based on
calligraphy and inks.  There are many monographs on the subject and as
you pointed out, they are mentioned in the forward to the Barenreiter
Edition.

As for Sussmayer being remarked upon in a bad way, we have Mozart's own
testimony on this point.  Mozart's widow never admitted to anyone else
finishing the Requiem not out of any loyality to Sussmayer, but wanted
the public to believe that Mozart only worked on it.  She went to her
grave denying the major role Sussmayer had in the final product.

She also violated the terms of Mozart's commission by having the work
published in Leipzig and selling a manuscript copy to the King of Prussia.
Count Walsegg, the original commissioner of the Requiem, was considering
legal action against Constanza, but relented when he heard of her dire
situation in regards to money.  This was another reason Constanza was
so adamant about who finished the Requiem: she couldn't have the possibility
of having the commission fee renounced.

"Kim Patrick Clow" <[log in to unmask]>