I'm writing a movie about Mozart going to New York in the '60s. I've been reading so many novels.
If you go to Japan for instance, you should know that they have a different way of playing Beethoven or Brahms. But if you play with them Mozart, Debussy, Mendelssohn, they have a wonderful light feeling for that.
It may be that when the angels go about their task praising God, they play only Bach. I am sure, however, that when they are together en famille they play Mozart.
Anybody can put things together that belong together. to put things together that don't go together, and make it work, that takes genius like Mozart's. Yet he is presented in the play Amadeus as a kind of silly boy whom the gods loved.
All the conductor has to do is stand back and try not to get in the way. Mozart is doing all the work.
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.
It is sobering to consider that when Mozart was my age he had already been dead for a year.
There is no female Mozart because there is no female Jack the Ripper.
If they had Mozart today, they couldn't work with him, although he was a very adaptable man.
There is a strange kind of human being in whom there is an eternal struggle between body and soul, animal and god, for dominance. In all great men this mixture is striking, and in none more so than in Wolfgang Amadeus Mozart.
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.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
My Constanze is the virtuous, honourable, discreet, and faithful darling of her honest and kindly-disposed Mozart.
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.
To understand Mozart's contradictory qualities would indeed be to understand genius.
When Mozart is playing in my room, I am in conjunction with something I can't explain... I don't need to. I know that if there's a purpose for life, it was for me to hear Mozart.
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!.
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 was a punk, which people seem to forget. He was a naughty, naughty boy.
My mother was a very talented pianist, and she was a music teacher who hated to teach music, actually, but she loved to play, so I was brought up with Chopin, Debussy and Mozart.
I love Mozart, and I love Bach, and Brahms, and - but at 13, I didn't understand any of that that I was playing.
It is tough to say what has influenced me the most because I know that Mozart makes me think better, but you cannot beat Dave Matthews for feeling good!
Mozart's seeming frothiness is just a light touch with very profound material. That's what I've found working on 'The Magic Flute.'
We all drew on the comfort which is given out by the major works of Mozart, which is as real and material as the warmth given up by a glass of brandy.
If you look back, Mozart, Haydn and Beethoven were mixing music and humor all the time.
If Antarctica were music it would be Mozart. Art, and it would be Michelangelo. Literature, and it would be Shakespeare. And yet it is something even greater; the only place on earth that is still as it should be. May we never tame it.
Schubert had arguably the same melodic gift as Mozart, but even less support. He didn't have the early exposure, never got to travel anywhere, and yet generated and amassed a body of work that grew and developed and is very profound.
The 'Mozart Symphony No. 27' is an early composition. I find it charming.
I am so in love with just lying in bed listening to Mozart.
Most people in the Western world grow up with the received wisdom that Mozart was a genius. But few people necessarily know why. More than anyone else, he captured this something which is the human condition, the fine line that we all constantly dance between joy and pain, between absolute happiness and absolute heartbreak.
My Mozart career began as a teenager in Los Angeles, singing arias from 'Le Nozze di Figaro' and 'Don Giovanni.'
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.
Mozart was born Mozart. Charlie Parker was born Charlie Parker.
Nobody worked harder than Mozart. By the time he was twenty-eight years old, his hands were deformed because of all the hours he had spent practicing, performing, and gripping a quill pen to compose. That's the missing element in the popular portrait of Mozart.
Someone was always trying to put down my individuality and personality, making me sing Mozart arias that were nothing to do with me.
In my younger days, I used to visit record shops and covet boxed sets of Beethoven symphonies, Wagner operas, Bach cantatas, Mozart piano concertos. Only rarely was I able to find the money for such luxuries.