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                                                  Requiem
   The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in 1791. The requiem was Mozart''s last composition, and is one of his most popular and most respected works. There has been a debate over how much of the music Mozart managed to complete before his death, and how much was later composed by Franz Xaver Süssmayr, or possibly others.
   The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ or harpsichord). The vocal forces include soprano, alto, tenor, and bass soloists and an SATB mixed choir.
   The Requiem has a complex history, riddled with deception and manipulation of public opinion. The work was commissioned by Count Walsegg in July 1791 who wanted to pass off the work as his own, so the circumstances of the commission were kept secret. Upon Mozart''s death, Constanze had the work completed by other composers, but to receive final payment, their assistance had to remain a secret. At the same time, Constanze wanted to present the work as having been written by Mozart to completion, so as to receive revenue from the work. When it became known that others beside Mozart had a hand in writing the Requiem, Constanze insisted that Mozart left explicit instructions for the work''s completion.
   With all of these levels of deceptions and secrets, it is inevitable that many myths would emerge with respect to the circumstances of the work''s completion. One series of myths surrounding the Requiem involves the role Antonio Salieri played in the commissioning and completion of the Requiem and in Mozart''s death generally. While the most recent retelling of this myth is Peter Shaffer''s play Amadeus and the movie made from it, it is important to note that the source of misinformation was actually a 19th century play by Alexander Pushkin, Mozart and Salieri, which was turned into an opera by Rimsky-Korsakov and subsequently used as the framework for Amadeus .
   While Amadeus was never intended to be historically accurate, many people have taken it as fact, reawakening the myth started in the 19th century. The following explores myths surrounding the Requiem.
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