Abstract:
This thesis explores the context, structure and style of the Viennese requiem as composed and performed from 1742 to 1821. Twenty works by seventeen composers are discussed to determine musical trends of the genre. In addition to this, the Requiem in G minor by Joseph Kainz, the Requiem in E-flat by Joseph Bonno and the Requiem in D minor by Johan Baptist Wanhal are presented as modern editions since the three works are of particular relevance to understanding the Viennese requiem and since they are not available elsewhere. Each of these three works represents an influencing factor on requiem culture: liturgy, court and individuality. The Requiem in G minor by Kainz shows how the liturgy could influence the composition of requiems, demonstrated by the composer-priest’s treatment of the text and the structure of the work in accordance with the rite. The Requiem in E-flat by Bonno, composed for the repertory of the imperial court, reveals through its style and structure, the ceremonial requirements of courtly liturgies. The Requiem in D minor by Wanhal, a work not discussed in any prior literature, contains a high degree of symbolism in the orchestral writing, which allows exploration of how composers expressed their individuality on the genre. The consideration of these three works and their representative aspects of requiem composition, in conjunction with the framework established by the comparison of a larger group of works, allows a detailed picture of the Viennese requiem to emerge in this thesis.
