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We have conflicting accounts of Mozart's mental state during this crucial period. After Prague, his wife went to a spa in Baden, and (fortunately for posterity) Mozart wrote her often. His letters are wholly upbeat, his mood buoyed by the success of . Yet, in the first Mozart biography (albeit not written until 1798), a family friend, Franz Xavier Niemetchek, claims that Mozart's health and spirits plunged, his melancholy thoughts obsessed with paranoid fear of being slowly poisoned, contemplation of his own death, and a gnawing feeling that he was writing his for himself. Indeed, after her return, upon a doctor's advice, Constanze took the Requiem score away from Mozart but then returned it as his morale improved.
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After burying the body in brush and dirt, family members may stay silently with it for over a day; or if a body is found unattended by elephants not related to it, they may pause and stand by for some time. They do this with any dead elephant, recently deceased or long departed with only the skeleton remaining. “It is probably the single strangest thing about them,” Cynthia Moss writes:
The mischief seems to have begun in 1825, when Aleksandr Pushkin wrote his short verse drama , in which he fantasized that the supremely talented Mozart, upon completing the , is poisoned by his rival, the mediocre but powerful official court composer. Rimsky-Korsakoff perpetuated the tale in his one-act 1897 opera that used a slight abridgement of the Pushkin drama for its libretto. In his 1978 play , Peter Shaffer took a less literal view, depicting a manipulative Salieri who deprives Mozart of recognition by patrons and public and kills him only figuratively with the poison of envy. The myth took its most extreme leap in Shaffer's screenplay for the acclaimed 1984 Milos Forman movie, now embellished so that Salieri completes his triumph by commissioning the in the guise of a frightening emissary from the Beyond, driving a depressed and destitute Mozart to work himself to death to complete it, copying down the dying composer's final directives, and then claiming the masterpiece as his own.
Unlike most composers of the time, Mozart was far from devout, and had completed little church music. Among many aborted attempts, his only major religious work had been a magnificent 1782 , brimming with his recent discovery of Bach and Handel, and which he had intended to impress his bride's home town of Salzburg but never finished once the initial ardor cooled, substituting movements from earlier works for a first and only performance. The mysterious commission apparently stimulated his lapsed interest. It's unclear just when Mozart began work on the , but he soon turned to other commitments, including writing his opera and presenting it in Prague to celebrate the coronation of Leopold II. Upon his return to Vienna in mid-September, he was consumed with completing and staging another opera, , a clarinet concerto for his friend Anton Stadler and a cantata for his Masonic lodge.
No one can deny that writing a letter has a charm that no electronic message can give. In fact letters are a way richer with deep and profound meannings and hold a significant part of the sender whether it was reflected on the handwriting ,the style of the text , as letters need a full plan and a correct language to be written which isn't the case with the other methods of communication, the care we give to the design and the choice of paper , envelope and all these tiny things that we use to neglect ... all these details contribute to emphasize the fact that letters have always been and remain one of the most sensual , emotional and expressive ways of communication with the advantage of having the opportunity of saving the letter for generations as a nostalgic reference to old epochs and redwelling on the beautiful times through these vivid testimonies . So who would dare deny that waiting for an expected letter or receiving an unexpected one is always anchored either to a certain unreplacable eagerness or to an euphoric surprise.?
Of its 14 sections, Mozart had completed in full score the opening (an astounding blend of the old polyphony and dignified repressed emotions of Bach with the forward-looking mournful lyricism of the coming era) and the four vocal parts and bass of the (a stunning double fugue that symbolically fuses a stern, noble subject for "Kyrie eleison" with a more humanized one for "Christe eleison"). To perform them both at a memorial service, Constanze asked Mozart's foremost pupil F. X. Freystädtler to orchestrate the , which he inscribed on Mozart's autograph original (preserved in the Austrian National Library in Vienna). She next gave the score to Joseph Eybler, a close friend who had been with Mozart through much of his final illness and a gifted composer for whom Mozart had written a glowing testimonial and held in high esteem. Mozart had written out the full vocal parts and bass line, together with an outline of the remaining instrumentation, for nearly the entire ( and ), but only the first eight bars of the . Eybler completed these portions but then stopped at the same point as Mozart, possibly due to other commitments, but, according to Eve Badura-Skoda, more likely out of humility and respect for Mozart, whose inspiration and invention he felt unworthy to succeed.
When i was younger i used to write letters to my friends and my parents, but since technology appeared with text message and many kinds of social media, people (including me) started to abandon letter and used the modern way of communication, it is easier, cheaper, faster and more practical than we have to take a time to write letter and wait till the letter is sending.
Until nearly his very end, Mozart had no reason to entrust completion of his to anyone else, and so the events of the very brief period after he recognized his fatal condition are crucial to assessing how much Süssmayr's work derives from Mozart's sketches and other directives. In a letter written to the score's publisher in 1800, Süssmayr (clearly motivated to enhance his role) claimed that Mozart, Constanze and he had sung through the sketched portions and that Mozart frequently had discussed realization of the remainder with him, including details of orchestration, but that he had composed the three remaining sections "afresh." Both Sophie and Constanze (motivated to legitimize the completed work as the genuine work of her late husband) recalled (decades later) that in his final hours Mozart explained to Süssmayr how to complete the work, including repeating the opening fugue at the end. Constanze further claimed that Mozart always conceived his works in their entirety (which seems consistent with his known methods of working), and that she had provided Süssmayr with scraps of music possibly intended for the work (none of which has ever surfaced). (There have been scattered reports of discovered Mozart sketches intended for the , but frustratingly none ever mentions the content or how it might relate to Süssmayr's material.)