The only thing that interests me in music is to be able to reach into the, let’s call it, ‘collective unconscious’ of what is noblest in the human spirit, the way you find in the music of Mozart and Beethoven and Verdi that wonderful quality that not a note can be changed.
I’m trying to learn classical piano, Mozart and Beethoven and stuff. I took lessons when I was younger and now I sort of sight read the music and play it by ear. It’s fun. It takes up a lot of time. I practice a couple of hours a day, but I find it soothing.
Food is a necessary component to life. People can live without Renoir, Mozart, Gaudi, Beckett, but they cannot live without food.
Mozart’s music is so pure and beautiful that I see it as a reflection of the inner beauty of the universe.
It is sobering to consider that when Mozart was my age he had already been dead for a year.
I love stuff like Mozart.
When I turned 35, I thought, ‘Mozart was dead at 36, so I set the bar: I’m going to start writing a book on my next birthday.’ I thought historical fiction would be easiest because I was a university professor and know my way around a library, and it seemed easier to look things up than make them up.
Mozart’s seeming frothiness is just a light touch with very profound material. That’s what I’ve found working on ‘The Magic Flute.’
There’s so many different ways to play Mozart.
All roads for me lead back to Mozart. In his tragically short life, he breathed new life, fire and meaning into every form of music that existed in his time.
I always think of Gilbert Norrell as being Salieri to Jonathan Strange being Mozart.
Beethoven and Beatles, Mozart and Michael Jackson, Paganini and Prince – I like them all.
Some people really want to play Mozart and be just performers. I was more interested in invention.
There’s a new Mozart, a new Miles Davis, a new Misty Copeland, a new Matisse potentially languishing in a math class somewhere. If we fail to introduce them to art, we fail humanity.
My parents met in music school and my father was a music professor and conductor. Growing up, we always had classical and contemporary music playing. There was a lot of Mozart and the Beatles.
I’m very fond of classical music, especially Mozart. I find it relaxes me and helps me concentrate.
I was living in a suburban town north of London, dutifully practicing my Mozart sonatas. And the milkman who delivered the milk in the mornings was kind of milkman by day, composer-artist by night.
My parents loved classical music. And my father adored Mozart. But for some reason, I always had a reaction against it.
There used to be a certain condescension to Mozart. His music was regarded as pleasant. He was a porcelain figure playing a porcelain harpsichord.
When you hear Bach or Mozart, you hear perfection. Remember that Bach, Mozart and Beethoven were great improvisers. I can hear that in their music.
I love the early sonatas; I love the early Mozart, period. I’m really fond of that moment when he was either emulating Haydn or Carl Philipp Emanuel Bach or anybody but himself. The moment he found himself, as conventional wisdom would have it, at the age of 18 or 19 or 20, I stop being so interested in him.
Because of Mozart, it’s all over after the age of seven.
I love gentle, gorgeous classical music such as Mozart.
Portraying Mozart is a scary task. Whenever I’m asked to portray actual historic figures, it comes with extra accountability. Not just to your director and playwright, but to the man himself and the beloved persona that the public forms.
When I went to college at the University of Nevada back in Las Vegas, I got tricked into singing in choir. The first thing we did was the Mozart ‘Requiem.’ That was the piece that changed my life overnight.
Most people think that a widow is inhabiting some elegiac world of – it’s like Mozart’s ‘Requiem Mass.’ You know, it’s very beautiful and elevated thoughts and some measure of dignity. I didn’t have that experience at all. I had one pratfall after another.
I think Mozart’s operas ‘The Marriage of Figaro’ and ‘Don Giovanni’ are the two most perfect ever written. The music is magical.
I love classical. I have a lot of, like, Bach and Mozart and stuff. Then you flip on over, and I’ve got, like, Kanye West and, you know, just a bunch of – I am very eclectic. I love every sort of music.
I want to listen to Beethoven and Mozart. I want to read the best minds. I want to live with uplifting art. I don’t want to live a grubby life.
The ‘Mozart Symphony No. 27’ is an early composition. I find it charming.
I can’t cut off an ear everyday. Do the Van Gogh here and the Mozart there. Anyway it’s exhausting enough always having to check up on what one is really doing!.
Well, Mozart is extraordinary not only in that he became virtuoso along the lines of his father, but that he had that compositional gift, that melodic gift. By the time he was four, he was doing piano concertos with harmony in the background.
Well, I don’t know any piece by heart, but Mozart goes something like this… What do you think?
I never listen to music when I am writing. It would be impossible. I listen to Bach in the mornings, mostly choral music; also some Handel, mostly songs and arias; I like Schubert’s and Beethoven’s chamber music and Sibelius’ symphonies; for opera, I listen to Mozart and in recent years Wagner.
We grew up listening to a variety of music, such as Gospel/Christian, R&B old/new school, jazz, blues, Mozart, Mary Poppins, Frank Sinatra, Barbra Streisand, just to name a few. I love opera, too – went to state in high school as a soloist.
Mozart wrote so many works in his thirty-five years that it would take a lifetime just to write out the notes. We literally do not know how he did it.
And it’s a crime because the great plays of history, going all the way back to the Greeks, are part of everybody’s heritage. It’s just like in music, Beethoven or Mozart, that’s everybody’s heritage.
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