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Choralia
provides three editions of training aids for the Requiem KV626
by W.A. Mozart, so as to best match the score
edition used by the choir. Edition 1 is based on the
edition published by Peters (Nr. 76), Edition 2 is
based on the edition published by Bärenreiter (BA
4538), and Edition 3 is based on the New Novello
Choral Edition revised by Duncan Druce (NOV070529).
The vocal parts of the three editions differ for the
following details.
Requiem
Soprano,
measure 36: in Edition 1 the syllable
“na” is on the last-but-one note (C), while in
Edition 2 and 3 it is on the last-but-three (B
natural).
Alto, measure 12 - 13: in Edition 1
the syllables “do-na” are repeated on the
last-but-one (B flat) and last (A) note of measure
12, and the syllable “e” is placed on the first note
(A) of measure 13, while in Edition 2 and 3 the
syllable "e" goes throughout the last two notes of
measure 12 and on the first note of measure 13.
Therefore, a tie between the two measures is present
in Edition 2 and 3 while it is not present in
Edition 1.
Alto, measure 35: in Edition 1 the
syllable “na” is on the seventh note of the measure
(F), while in Edition 2 and 3 it is on the fifth
(E).
Kyrie
Soprano,
measure 6 (measure 54 in Edition 3): in
Edition 3 the first note (A) is a dotted crotchet,
while it is a crotchet followed by a quaver rest in
Edition 1 and 2.
Soprano, measure 11 (measure 59 in Edition 3):
in Edition 1 the syllable “i” is on the third note
of the measure (C sharp), while in Edition 2 and 3
it is on the second (D).
Soprano, measure 34 (measure 82 in Edition 3):
in Edition 1 the syllable “i” is on the last note of
the measure (B flat), while in Edition 2 and 3 it is
on the last-but-one (C).
Soprano, measure 38 (measure 86 in Edition 3):
in Edition 1 the syllable “i” is on the last note of
the measure (D), while in Edition 2 and 3 it is on
the last-but-one (E).
Alto, measure 37 (measure 85 in Edition 3):
in Edition 1 the syllable “i” is on the last note of
the measure (G), while in Edition 2 and 3 it is on
the last-but-one (A).
Alto, measure 40 – 41 (measure 88 - 89 in
Edition 3): in Edition 1 and 3 a single
sound “lei” is placed on the last note of measure
40, that is tied to the first note of measure 41,
while in edition 2 the same sound is divided in a
syllable "le", placed on the last note of measure
40, and a syllable "i" placed on the first note of
measure 41. In Edition 2 a tie is also shown between
the two notes, and its meaning may be debatable.
Tenor, measure 8 (measure 56 in Edition 3):
in Edition 1 the syllable “i” is on the fourth note
of the measure (E), while in Edition 2 and 3 it is
on the third (D).
Tenor, measure 36 (measure 84 in Edition 3):
in Edition 1 the syllable “i” is on the last note of
the measure (C), while in Edition 2 and 3 it is on
the last-but-one (D).
Tenor, measure 43 (measure 91 in Edition 3):
in Edition 3 a single sound “lei” is placed on the
last-but-one note of the measure (B natural), while
in edition 1 and 2 the same sound is divided into a
syllable "le", placed on the same note, and a
syllable "i" placed on the last note (C sharp).
Tenor, measure 47 (measure 95 in Edition 3):
in Edition 3 a single sound “lei” is placed on the
second (D) and on the last-but-one note (E) of the
measure, while in edition 1 and 2 the same sound is
divided into a syllable "le", placed on the same
notes, and a syllable "i" placed on the third (C)
and on the last note (D).
Bass, measure 27 – 28 (measure 75 - 76 in
Edition 3): in edition 1 there is a
syllable “i” on the last note of measure 27 (C), a
syllable “son” on the first note of measure 28 (B
flat), and the word “eleison” is repeated on measure
28 (“e” on the second note, “le” on the fourth, “i”
on the sixth, and “son” on the last); in
Edition 2 and 3 the syllable “le” is sung throughout
measure 27 and until the fifth note of measure 28
included, then “i” is placed on the sixth note and
“son” on the last note of measure 28.
Bass, measure 35 (measure 83 in Edition 3):
in Edition 1 the syllable “i” is on last note of the
measure (F), while in Edition 2 and 3 it is on the
last-but-one (G).
Bass, measure 46 (measure 94 in Edition 3):
in Edition 3 a single sound “lei” is placed on the
third (G) and on the last-but-one note (A) of the
measure, while in edition 1 and 2 the same sound is
divided in a syllable "le", placed on the same
notes, and a syllable "i" placed on the fourth (F)
and on the last note (G).
Dies irae
No
difference.
Rex tremendae
Alto, measure 12: the second note is F
in Edition 1 and 3, while it is C in Edition 2.
Tenor, measure 22: the only note is F
in Edition 1, while it is D in Edition 2 and 3.
Confutatis
No
difference.
Lacrimosa
Tenor,
measure 14: in Edition 1 and 2 the first
note (B flat) is a dotted crotchet tied to next note
(quaver, B flat) and followed by an A quaver, while
in Edition 3 the first note is a dotted crotchet (B
flat) immediately follows by an A crotchet.
Bass, measure 14: in Edition 1 the
duration of the last note of the measure is 3/8,
while it is 1/2 followed by a 1/4 rest in Edition 2
and 3.
Alto and tenor, measure 24 to 27:
entirely revised by the editor in Edition 3 with
respect to Edition 1 and 2.
Domine Jesu
Alto,
measure 43: in Edition 1 and 2 the
second and the third note (A and G) are semiquavers,
while they are quavers in edition 3. The first note
(B flat) is therefore a dotted crotchet in Edition 1
and 2, and a crotchet in Edition 3.
Alto, measure 60: in Edition 1 and 2
the last two notes (A and G) are semiquavers, while
they are quavers in Edition 3. The last-but-two note
(B flat) is therefore a dotted crotchet in Edition 1
and 2, and a crotchet in Edition 3.
Tenor, measure 18: in Edition 3 the
last note (quaver) is F, while it is E natural in
Edition 1 and 2.
Hostias
Alto, measure 71: in Edition 1 and 2
the last two notes (A and G) are semiquavers, while
they are quavers in edition 3. The last-but-two note
(B flat) is therefore a dotted crotchet in Edition 1
and 2, and a crotchet in Edition 3.
Bass, measure 19 - 20: in Edition 1
the syllable “ri” begins on the last note of measure
19 and continues on the first note of measure 20,
while in Edition 2 and 3 the syllable “mo” is sung
on both the notes of measure 19 and the syllable
"ri" is placed on the first note of measure 20.
Sanctus
Bass,
measure 21 to 23: the lyrics "-sis in
ex-cel-" exist in Edition 1 and 3, while they are
omitted in Edition 2, where the syllable "cel-" of
measure 19 is sung until the syllable "-sis" of
measure 25 (despite the presence of a 1/4 rest on
measure 21).
Benedictus
No difference.
Agnus Dei
No
difference.
Lux aeterna
Soprano, measure 18 (69 or 23 in Edition 3):
in Edition 1 the syllable “na” is on the
last-but-one note (C), while in Edition 2 and 3 it
is on the last-but-three (B natural).
Alto, measure 17 (68 or 22 in Edition 3):
in Edition 1 the syllable “na” is on the seventh
note of the measure (F), while in Edition 2 and 3 it
is on the fifth (E).
Tenor, measure 38 (89 or 43 in Edition 3):
in Edition 1 and 2 the syllable “num” is on the
fourth note of the measure (E), while in Edition 3
it is on the third (D).
Bass, measure 81 (132 or 86 in Edition 3):
in Edition 1 and 3 the lyrics are “pi-us” on the
first three notes of the measure, while in Edition 2
the lyrics are “qui-a” ("pi" is replaced by "qui",
and "us" is replaced by "a").
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