fter the soli of the quartet of soloists comes a strong intensification that leads to the Rex Tremendae. Towards the end, it disappears slowly and changes in a moving prayer: save me, source of compassion. In the Recordare, the quartet plays an imitation since this part is the continuation of the preceding prayer.		In the Confutatis, the chorus breaks out in lamentations. Here, Mozart is really innovatif in the field of harmony. The Confutatis contains a strong contrast between the prayer atmosphere of the second part and the impetuous ritmics at the beginning.