An unfinished masterpiece, a musical testament, a timeless sacred composition that transcends the liturgical framework, Mozart’s _Requiem_ amasses superlatives. By the time of his death on 5 December 1791, the composer had fully completed the _Introit_ and the _Kyrie_, and largely defined the content of the next five parts, from the _Dies Irae_ to the _Confutatis_.
 
Since then, the work has given rise to a thousand hypotheses, numerous versions of the unfinished pages and, above all, splendid interpretations: it magnetises the listener as well as the performer, and finally imposes itself almost entirely in the form left by Mozart. It is as if these last notes, from the still-risen pen of a dying composer, were all the more precious…