This innovative completion by Robert Levin of the Mozart: Requiem addresses the issues of instrumentation, grammar and structure of Sussmayr's version, while respecting the 200-year old history of a well-known masterpiece.
The most substantial alterations include the transparent instrumentation inspired by Mozart's other church music; the Lacrimosa which leads into a non-modulation Amen fugue, unlike other completions in which the fugue modulates extensively; and the revised Hosanna fugue modeled after Mozart's C-minor Mass K.427/417a, which displays the proportions of a Mozartean church fugue.
Robert Levin is well known as a piano virtuoso committed to the restoration of the Classic period practice of improvised embellishments and cadenzas. He is also a recognized Mozart scholar and theorist. Levin has completed Mozart fragments published by Barenreiter, Hanssler and Peters which have been recorded and performed throughout the world. In August 1991, this version of the Requiem was premiered by Helmuth Rilling at the European Music Festival in Stuttgart, Germany. It met with a standing ovation. Currently, Mr. Levin is professor of Humanities at Harvard University.
The Boston Baroque, under the direction of Martin Pearlman, has appeared several times on the Telarc label. Their outstanding recordings performed on period instruments include their Grammy-nominated Messiah, the complete Brandenburg Concertos and Handel's Concerti grossi Op. 6.