Mozart Requiem

[johntarr]

Hello,

I will be playing alto trombone in the Mozart Requiem (Süssmeyer) and would like to find a copy of the part so I can be well prepared. I’ve looked under ISMLP and could only find facsimiles of Mozart’s original parts.

Many thanks for any leads,

John

[ithinknot]

look again http://vmirror.imslp.org/files/imglnks/ ... ombone.pdf

[GabrielRice]

email sent

[Crazy4Tbone86]

look again http://vmirror.imslp.org/files/imglnks/ ... ombone.pdf

That does not look like the Sussmeyer edition to me. The Sussmeyer is much longer and the alto part doubles the alto voice part on many of the chorus parts. Those parts look like the Peters edition to me.

[brassmedic]

look again http://vmirror.imslp.org/files/imglnks/ ... ombone.pdf

That does not look like the Sussmeyer edition to me. The Sussmeyer is much longer and the alto part doubles the alto voice part on many of the chorus parts. Those parts look like the Peters edition to me.

It's Breitkopf und Härtel. That IS the Sussmayr completion. Sussmayr didn't specify where the trombones would be colla parte. There are later editions that have the trombones doubling the choir in more places. The OP needs to get more info from the orchestra librarian as to which edition will be used. If it were me, I would just ask them to send a scan of the part. Some editions aren't even in the same clef.

[stewbones43]

The Barenreiter edition is the version with all the notes! Fun to play, especially on alto.

Cheers

Stewbones43

[LeTromboniste]

Barenreiter, Carus and a number of other editions of the Sussmayr version have all the notes. Cherry Classics has a set of parts they offer for free online. Has some mistakes but it's good help.

The old Breitkopf parts are useless. Trombones should double throughout (except probably when nobody else is doubling the voices at all in a few soft places). Sussmayr didn't need to specify, that was the tradition.

[johntarr]

Thanks for all the suggestions and help. A fellow member sent me a copy of the Cherry except, which has been helpful for working up some of the runs. When I went to Cheery Classics to find it, I couldn't. Then I did a search (why didn't I do that first? duh!) I found this:

https://wmich.edu/sites/default/files/a ... equiem.pdf

, which seems like a copy of the original. To the suggestion that I just ask the librarian, it's a pick up orchestra an I have asked the contractor several times for the parts. We will only have one rehearsal before the performance, on the same day. I want to be prepared.

[BGuttman]

If you really want to be prepared, learn all the alto voice parts also. You can always not play something you prepared, but trying to sight read something in one rehearsal is tough. I played in something like you describe. The focus of that one long rehearsal is integrating the voices with the orchestra. You will have little attention or chance to work on things; most of the attention will probably be on the strings and winds. Good luck. This is one of the pieces I really like to play alto trombone; especially when doubling the voices.

[brassmedic]

Barenreiter, Carus and a number of other editions of the Sussmayr version have all the notes. Cherry Classics has a set of parts they offer for free online. Has some mistakes but it's good help.

The old Breitkopf parts are useless. Trombones should double throughout (except probably when nobody else is doubling the voices at all in a few soft places). Sussmayr didn't need to specify, that was the tradition.

I didn't say he needed to specify. I'm saying that "Sussmayr Edition" is non-specific, as there is more than one edition of the Sussmayr completion, and the trombone parts are not the same. Doesn't matter if you think the edition they use is useless; if that's what they're using then that's what the trombones will be playing.

But I agree with Bruce; learn everything even if you might not end up playing it.

[Crazy4Tbone86]

Thanks for setting me straight on this Brad. It was the Barenreiter Edition that I was thinking of. There is a huge difference between all of the editions. I have mostly seen the Peters and the Barenreiter. The Barenreiter has about twice as much trombone music in it.

I have been told there is an edition where the alto trombone has several high E-naturals. Does anyone know which edition that is?

[CalgaryTbone]

The Levin (sp?) version (he's the editor, not the publisher) is the one (or at least one of the versions) that has additional movements up to high E's. We played it here last season. Since Mozart never finished the Requiem, some editors chose to add movements from some of his other works to fill out the work. Those additional movements in the Levin are in a fast 3/4 (in 1) with some tricky passage work, and the high E's are near the end of each of them, after a fair amount of non-stop playing. Not recommended for alto newbies, and a tough night at work for an experienced player too. Fun but a bit scary!

Jim Scott

[BGuttman]

The Levin (sp?) version (he's the editor, not the publisher) is the one (or at least one of the versions) that has additional movements up to high E's. We played it here last season. Since Mozart never finished the Requiem, some editors chose to add movements from some of his other works to fill out the work. Those additional movements in the Levin are in a fast 3/4 (in 1) with some tricky passage work, and the high E's are near the end of each of them, after a fair amount of non-stop playing. Not recommended for alto newbies, and a tough night at work for an experienced player too. Fun but a bit scary!

Jim Scott

That sounds like the version I played in a Read-In. They actually had a substitute part to be played on an F Bass Trumpet. And here I was a newbie alto player! Thank heavens there was no public involved

[brassmedic]

The Levin (sp?) version (he's the editor, not the publisher) is the one (or at least one of the versions) that has additional movements up to high E's. We played it here last season. Since Mozart never finished the Requiem, some editors chose to add movements from some of his other works to fill out the work. Those additional movements in the Levin are in a fast 3/4 (in 1) with some tricky passage work, and the high E's are near the end of each of them, after a fair amount of non-stop playing. Not recommended for alto newbies, and a tough night at work for an experienced player too. Fun but a bit scary!

Jim Scott

If you're talking about the Amen fugue, that's actually taken from a sketch fragment that was found, and there's pretty good evidence that Mozart intended to use that in the Requiem. Having said that, some of the completions of the Amen fugue don't really sound like Mozart, in my opinion.

[CalgaryTbone]

The Levin (sp?) version (he's the editor, not the publisher) is the one (or at least one of the versions) that has additional movements up to high E's. We played it here last season. Since Mozart never finished the Requiem, some editors chose to add movements from some of his other works to fill out the work. Those additional movements in the Levin are in a fast 3/4 (in 1) with some tricky passage work, and the high E's are near the end of each of them, after a fair amount of non-stop playing. Not recommended for alto newbies, and a tough night at work for an experienced player too. Fun but a bit scary!

Jim Scott

If you're talking about the Amen fugue, that's actually taken from a sketch fragment that was found, and there's pretty good evidence that Mozart intended to use that in the Requiem. Having said that, some of the completions of the Amen fugue don't really sound like Mozart, in my opinion.

That sounds right. I don't remember ever seeing that movement before those performances. I've encountered several different versions over the years. I was kind of glad that the Sussmeyer version without most of the choir doubling was what was on the stand the first few times I played the Requiem. It gave me the chance to get my alto playing together before I had to tackle all of those technical passages on a strange horn. The Kyrie has become a standard excerpt on 1st and 2nd trombone auditions, but it wasn't on anyone's radar when I was a student.

Jim Scott