The answer is that Mozart thought one of Haydn’s symphonies so worthy that he composed a slow introduction for its first movement; the complete manuscript was found among Mozart’s scores, and, such was the quality of the piece, that credit for the entire work was erroneously bestowed upon Mozart.Michael Haydn also produced many concertos, serenades, dances and marches, string quartets and quintets, and solo keyboard works. perusal score Such a procedure was not unusual for Mozart: “A born competitor,” one musicologist opines , “Mozart delighted in taking a particular idea or piece by another composer as his model and then pointedly improving on it.” Such a procedure was not unusual for Mozart: “A born competitor,” one musicologist Compare the video recordings below of these two Requiems. I’ve put a few recordings from them on my Buy Soon list and this Requiem is now on it as well.The Imaginative Conservative is sponsored by The Free Enterprise Institute (a U.S. 501(c)3 tax exempt organization). It was here, then, in the realm of sacred music that the younger Haydn left his mark, both in his lifetime and beyond.Among the some fifty Masses composed by Haydn are two Masses for the Dead (a third until recently was spuriously attributed to the composer). No. Once when Haydn was too ill to fulfill a commission from the archbishop to compose a set of six duos for violin and viola, Mozart wrote the remaining two pieces so that Haydn would still get his fee.When Mozart received the mysterious commission to write a Death Mass twenty years later, in the last year of his life, he turned to Michael Haydn’s Requiem as a model. Though separated by more than eighteen years in age, Mozart and Haydn soon became friends, and the younger man admired the older composer’s work. Especially esteemed by Mozart and his peers were these liturgical compositions; Michael’s brother Josef even thought them to be superior to his own (monumental) contributions to the genre. Music for keyboard instrumentsperusal score

Michael Haydn wrote the Missa pro defuncto Archiepiscopo Sigismondo, or more generally Missa pro Defunctis, Klafsky I:8, MH 155, following the death of the Count Archbishop Sigismund von Schrattenbach in Salzburg in December 1771.
Though it would be too bold to claim that Haydn’s only complete setting of the Catholic Mass for the Dead deserves the same honor accorded Mozart’s masterpiece, it is not too audacious to assert that Haydn’s Requiem is a great work and worthy to stand comparison with any such work in this genre ever composed. Ce n’était pas l’avis de ses contemporains ; ce n’était d’ailleurs pas même l’avis de Mozart lui-même, ni celui de Joseph Haydn ou de Carl Philipp Emanuel Bach, sans même parler de Burney, de Hiller ou des grands interprètes de l’opera seria italien.Thank you Mr. Klugewicz for your articles on symphonic music. The very opening of both works are similar in conception and mood; the end of Mozart’s Introit sounds much like parts of the Kyrie Eleison by Haydn (5:15-5:30 in the Mozart, and at 1:45-1:55 and again at 5:30-6:00 and 33:00 in the Haydn); similarly, listen to the similarities, at least of tone, of the opening the composer’s respective Dies Irae sections (8:10 in the Mozart; 6:38 in the Haydn); perhaps most strikingly, the opening of Haydn’s Domine Jesu Christe sounds nearly the same as Mozart’s (14:06 in the Haydn, 27:48 in the Mozart).It should be remembered that Mozart died before he completed his Requiem; the version that we know today has been “completed” through the Today there are only a handful of recordings of Haydn’s Requiem, whereas there exist some 130 recorded renditions of Mozart’s Requiem.