This movement has captivated my attention, not only because of its beauty, but mainly for the fact that if is the part of the Requiem where you assume the more risk, by innovatiion, mainly in the harmony. While in other movements the consequent phrase is more or less predictable (if you are used to Vivaldi, Haendel or Vienna School) in this one you are surprised (gratelfully) on the variation and originality of the language not only the harmony but the structue is innovative for a Requiem Mass. This one should be more closely related to that of Karl Jenckins than to the one of Mozart.
This movement has captivated my attention, not only because of its beauty, but mainly for the fact that if is the part of the Requiem where you assume the more risk, by innovatiion, mainly in the harmony. While in other movements the consequent phrase is more or less predictable (if you are used to Vivaldi, Haendel or Vienna School) in this one you are surprised (gratelfully) on the variation and originality of the language not only the harmony but the structue is innovative for a Requiem Mass. This one should be more closely related to that of Karl Jenckins than to the one of Mozart.