Mozart Requiem | Confutatis | Orchestra Accompaniment Rehearsal Track

Practice Confutatis from Mozart's Requiem in D minor, K. 626 with this orchestra accompaniment rehearsal track. Confutatis is a SATB choir movement built on one of the most powerful contrasts in the Requiem. The tenor and bass parts carry the force of judgment in Confutatis maledictis and flammis acribus addictis, while the soprano and alto parts answer with the softer plea, Voca me cum benedictis. The final Oro supplex et acclinis turns the whole choir inward. The energy must change from fire to prayer without losing pulse, breath, or tuning. Use this track to practice: SATB choir entrances Lower voice rhythmic drive Upper voice legato Latin text and rhythm Dynamic contrast Orchestra cues Choral balance Final prayer section Full movement preparation The full Mozart Requiem project follows the traditional Süssmayr completion. Timestamps, Lyrics, IPA & Translation 00:00 Confutatis maledictis / Flammis acribus addictis { kon.fuˈta.tis ma.leˈdik.tis } When the accursed are confounded. { ˈflam.mis ˈa.kri.bus adˈdik.tis } And given over to fierce flames. 00:20 Voca me cum benedictis { ˈvo.ka me kum be.neˈdik.tis } Call me with the blessed. 00:33 Confutatis maledictis / Flammis acribus addictis { kon.fuˈta.tis ma.leˈdik.tis } When the accursed are confounded. { ˈflam.mis ˈa.kri.bus adˈdik.tis } And given over to fierce flames. 00:55 Voca me cum benedictis { ˈvo.ka me kum be.neˈdik.tis } Call me with the blessed. 01:26 Oro supplex et acclinis { ˈo.ro ˈsup.pleks et akˈkli.nis } I pray, suppliant and bowed down. 01:39 Cor contritum quasi cinis { kor konˈtri.tum ˈkwa.zi ˈtʃi.nis } My heart crushed as if to ashes. 01:53 Gere curam mei finis { ˈdʒe.re ˈku.ram ˈme.i ˈfi.nis } Take care of my final end. Practice Notes Confutatis depends on contrast. The lower voices must bring fire, but the rhythm must stay exact. The opening should feel dangerous, not rushed. Tenor and bass need clean articulation on Confutatis maledictis and flammis acribus addictis. Keep the consonants sharp, but do not turn the sound into shouting. The force comes from rhythm, text, and ensemble unity. Soprano and alto must enter with a completely different color at Voca me cum benedictis. This should feel like mercy after fire. Keep the line soft, tuned, and supported. Soft does not mean weak. The repeated contrast only works if both sections share one pulse. Do not let the upper voice plea slow down or float away from the beat. At Oro supplex et acclinis, the full choir turns inward. The tone should become humble and prayerful, with less attack and more line. Save breath and energy for this section. At Cor contritum quasi cinis, keep the texture clear. The text speaks of a heart reduced almost to ashes, but the choir still needs pitch center and balanced vowels. At Gere curam mei finis, do not over-sing the ending. Let the final plea settle with control, clean Latin, and a quiet sense of surrender. Voice ranges in this movement: Soprano: E4 to G5 Alto: C4 to D5 Tenor: E3 to A4 Bass: F2 to E4 Recommended Playlists 🎼 Confutatis Playlist, SATB rehearsal tracks & vocal guides:    • Mozart Requiem Confutatis | SATB Choir Reh...   🎼 Mozart Requiem Rehearsal Library:    • Mozart Requiem   Support the channel: https://buymeacoffee.com/opera_and_choir Join the singers' community:   / 921872057073844   #MozartRequiem #Confutatis #Mozart #OrchestraAccompaniment #SATBChoir #ChoirRehearsal #ChoralMusic #ClassicalMusic #LatinDiction #IPA #Requiem #OperaAndChoir