he Sanctus, Benedictus and Agnus Dei, that follows, are carried out by Süssmayr. At the Benedictus, he more or less gave in to the temptation of the Mozartian belcanto style. Here, the quartet can show its vocal capacities in full way.		Mozart had carefully avoided the use of a virtuosity belcanto in the whole work. One recognizes here rather the art of Bach and Händel. Here, a noble and very religious person sings, purified by the suffering, his good-bye to earthly life, reconciled with the death which he calls ' his biggest friend'.