The confusion surrounding the completion of the Requiem turmed into a raging controversy with the pulication of an essay by Gottfried Weber in 1825 on the subject. He described the Kyrie as a "wild gargle" and that the Tuba Mirum would have "made the glorious Mozart spin in his grave". Abbe Stadler and Anton Andre both joined in and Stadler published his defence of the authenticity of the Mozart Requiem in 1826. At this time the working or incomplete score of the Requiem was in two parts, the first of which was aquired by the Austrian National Library from Abbe Stadler in 1831 and the second donated to the library by Joseph Eybler in 1833. It is unclear as to when or why they came into possession of the fragmentary scores. The "score for delivery" i.e. that which was handed over to Count Walsegg and which has much of the Kyrie in Mozart's own hand while the rest of the score is in Sussmyar's, was discovered at Stuppach in the summer of 1838 and purchased by the Library in December of that year.
