Well, the official answer is his student Franz Xaver Süssmayr, but honestly, the parts people feel most—the "Lacrimosa," the final "Sanctus"—they're all touched by another hand. You can *hear* the difference, like a studio musician trying to fill in a maestro's demo tape. Teaching kids Mozart's own pieces, you feel that raw genius; the completed Requiem feels like a respectful but clumsy cover version. It breaks my heart, yaar, because I know the agony of not having the right gear to finish your own music properly.
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