46 NOTES AND QUERIES. 
MOZART's “ REQUIEM.” 
What Mozart wrote, and what he did not write, 
of the celebrated Requiem, is a question which 
has given rise to many volumes of curious con- 
troversy. One point, however, has been altoge- 
ther overlooked by the combatants, and it is this : 
that Mozart may have written certain movements 
new and fresh for the composition, and brought in 
and used up movements for the other portions of 
the Mass which he had written many years before. 
T think this to be the true solution of this vexed 
question. It is clear Mozart did not score his 
Requiem, and Spohr or Berlioz should remove the 
blots Sussmayer has charged upon this superb 
opera. 
Mozart considered he had done something new, 
in fact had made an advance in writing, for just 
before his death he said, “ Ah! how sad it is 
I mu&t die, when Z have only just begun to write.” 
I believe his acquaintance for the first time with 
the motetts of Bach, and Bach’s forty-eight pre- 
ludes and fugues, to be the turning point in the 
second epoch of Mozart’s style. “His letters to 
his wife testify to his wonder and amazement at 
the preludes and fugues; and his use of the 
Choral in the Zauberfléite shows how soon he 
turned the motetts to account. Of the Requiem 
I think five movements were written specially, 
and the others adaptations from earlier works. 
The Domine is unquestionably the greatest of all 
his compositions, and Bach is seen in every bar. 
The fugue upon the “Christe eleison” is com- 
pounded out of the two fugues in A minor in 
Bach's celebrated work. H. J. Gauntierr. 
Handel's Mode of composing Music. — Among 
the four creators (not composers) of .music — 
Bach, Handel, Mozart, and Beethoven — Handel 
ranks the first and foremost in many respects, but 
is, notwithstanding, the weakest and most unequal 
of the four. So low do the great German theo- 
rists rank him, that he is not admitted as an 
authority in their rudimentary treatises. The 
reason of his great inequality may be traced from 
his practice of writing for immediate performance, 
and for money. He was in one person proprietor, 
renter, lessee, composer, manager, conductor, 
organist, singing-master, choragus, banker, specu- 
lator, and had to Jook to the public for an imme- 
diate return for his labours. 
to please all classes of humanity, those who had 
hearts and heads, and those who had not. When 
he completed his Oratorio of Judas Muccabeus, 
Dr. Mainwaring requested the loan of the MSS. 
for a few days, and on returning them observed, 
“T have marked some of the finest movements.” 
“Ah,” said Handel, ‘you have picked out the 
best things, but you take no notice of that which 
is to bring me ail the money!” HH. J. Gauntiert. 
He wrote therefore: 
[2nd §, No 3., Jan. 19. °56, 
ILLUSTRATIONS OF MACAULAY, 
Hugh Speke and the forged Declaration of the 
Prince of Orange (Concluded from p. 29.) — The 
accession of James stirred up the disaffected and 
let loose the persecutors. ‘The Spekes, kith and 
kin, were all suspected. It appears from Mr. 
Roberts’s researches in the State Paper Office, 
that Bishop Mews had in 1688 officially reported 
Mrs. Speke as “the most dangerous woman in the 
West,” and recommended that the house at White 
Lackington should be searched. 
In 1685 a messenger was despatched to arrest 
Trenchard, who was then on a visit to his father- 
in-law. The messenger was resisted, and Tren- 
chard escaped. Old Speke was prosecuted for 
aiding in the rescue, and fined two thousand 
pounds, and ordered to. find security for good be- 
haviour. Hueh Speke, too, who had secured the 
liberty of the Rules, was now locked up within the 
King’s Bench. Here he became acquainted with 
Johnson, who was then confined for writing 
Julian the Apostate. Speke tells us that he sug- 
gested to Johnson the Humble and Hearty Ad- 
dress to all Protestants in the present Army ; which 
he also undertook to get printed and circulated 
at the camp at Hounslow. 
Then came Monmouth’s Expedition and the Re- 
bellion in the West. Fortunately for John Tren- 
chard, the country had been too hot to hold him, 
and he had retired to France. Speke, the father, 
was too old to go soldiering as in the Cavalier 
days — Hugh Speke was in prison, — but John, 
the eldest son, the late member for Ilchester, 
joined at once, with forty attendants on horseback, 
and was probably the most influential gentleman 
who risked life and fortune on the issue. 
This John Speke escaped by some miraculous 
chance the legal slaughter which followed the 
defeat at Sedgmoor ; but a younger brother, 
Charles, who had not joined in the rebellion, but 
had unfortunately met Monmouth and shaken 
hands with him, suffered death. A major of 
dragoons told Jefferys that there were two Spekes, 
and that the one left for execution was not the 
man intended, and that perhaps favour might be 
shown him. ‘ No,” replied the judge; “ his family 
owe a life — he shall die for his namesake ;” and 
he was executed from a tree in the market-place 
at Wells. This young man was Filazer for Devon, 
Dorset, Somerset, Bristol, and Poole, — an office, 
I presume, of honour and profit, as he had given 
3000/. for it. So soon as it was known that he 
had been apprehended, both my Lord Jeffreys 
and Chief Justice Jones begged the place of the 
king. Jeffreys got the grant, and, as Hugh Speke 
quaintly says, “* there remained, therefore, nothing 
to do but to hang him.” 
Now I cannot believe that any man with such 
antecedents, can with propriety be called an “ un- 
