64 ([return])
[ Zelter, Briefw. m. Goethe, IV., p. 353.]
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[ A correspondent of G. Weber had heard that André possessed MSS. which would prove that every note of the Benedictus was an adaptation of an earlier and favourite air of Mozart (Cäcilia, IV., p. 292). It need scarcely be said that there is not a word of truth in this.]
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[ Berl. Mas. Ztg., 1825, p. 379.]
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[ Zelter (Briefw. m. Goethe, IV., p. 353) pronounces the Requiem to be "disjointed, unequal; some of the pieces might be inserted, and it would be a mistake to consider it as a whole; the same thing is the case with many excellent composers; and though the Requiem consists entirely of detached pieces, it is the best production that I know of the last century." The story of the Requiem may have had some influence on this judgment.]
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[ A. M. Z., XVI., p. 812: "Mozart has disclosed his whole inner being in this one sacred work, and who can fail to be affected by the fervour of devotion and holy transport which streams from it? His Requiem is unquestionably the highest and best that modern art has to offer for sacred worship." Unfavourable criticism was not wanting. "I should be without feeling," says Ernst, in Tieck's Phantasus (Schriften, IV., p. 426), "if I failed to love and honour the marvellous depth and richness of Mozart's mind—if I failed to be carried away by his works. Only, let me have none of his Requiem.">[