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Updated: May 2, 2025
Quite as great is the effect of the same kind in the "Agnus Dei," which was either written by Mozart, or by Sussmayer with Mozart's spirit looking over him.
The well-known 'Requiem' was lying on the coverlet, and Mozart was explaining to Süssmayer the mode in which he wished him to complete it after his death.
Few compositions ever attained such fame as the "Streghe," of which the theme was taken from the music of Süssmayer to the ballet of "Il Noce di Benevento."
Benedict Schack sang the soprano; his brother-in-law, Hofer, the tenor; Gerl, the bass; and Mozart himself took the alto in a weak but delicately clear voice. They had got through the various parts till they came to the "Lacrymosa," when Mozart burst into tears, and laid the score aside. In her account of his last moments, she says: "I found Süssmayer sitting by Mozart's bed.
In this composition, the air of which was taken from a ballet by Sussmayer, called "Il Noce de Benevento," at the part where the witches appear in the piece as performed on the stage, the violinist introduced many of his most remarkable effects.
Mozart's success had raised up a crop of imitators, of whom the most meritorious were Süssmayer, his own pupil; Winter, who had the audacity to write a sequel to 'Die Zauberflöte'; Weigl, the composer of the popular 'Schweizerfamilie' the Abbé Vogler, who, though now known chiefly by his organ music, was a prolific writer for the stage; and Dittersdorf, a writer of genuine humour, whose spirited Singspiel, 'Doktor und Apotheker, carried on the traditions of Hiller successfully.
It should be added that this "Süssmayer, who had obtained possession of one transcript of the 'Requiem, the other having been delivered to the stranger immediately after Mozart's decease, published the score some years afterwards, claiming to have composed from the Sanctus to the end.
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