A Quote by Michael Arden

If you've never heard a piece of Mozart, then Mozart could sound scary or confusing, so it's all about learning. — © Michael Arden
If you've never heard a piece of Mozart, then Mozart could sound scary or confusing, so it's all about learning.
I have been told that a young would-be composer wrote to Mozart asking advice about how to compose a symphony. Mozart responded that a symphony was a complex and demanding form and it would be better to start with something simpler. The young man protested, 'But, Herr Mozart, you wrote symphonies when you were younger than I am now.' Mozart replied, 'I never asked how.
When I started, my teachers told me that I had to sing Mozart, Mozart, Mozart. I said, No, I want to sing all the other stuff. If you do not push yourself, you will stay the same. Maybe some singers are happy with that, but I have to move, I have to do something new always.
When I started, my teachers told me that I had to sing 'Mozart, Mozart, Mozart.' I said, 'No, I want to sing all the other stuff.' If you do not push yourself, you will stay the same. Maybe some singers are happy with that, but I have to move, I have to do something new always.
I owe very, very much to Mozart; and if one studies, for instance, the way in which I write for string quartet, then one cannot deny that I have learned this directly from Mozart. And I am proud of it!
When I hear music I want to engage in it. Even if I engage in it very quickly and turn it off in my mind. If I'm in an elevator, clearly I don't want to be dealing with that, even if it's Mozart. In fact, especially if it's Mozart. I don't think Mozart belongs in an elevator.
The revolutionary Mozart is the Mozart of his last eight years.
You can practice for 30 years and still not be a Mozart. The most lethal combination would be a Mozart who practiced for thousands of hours.
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.
As many times as I have done 'Marriage of Figaro,' I have never been able to ask Mozart what he intended in this piece.
We may be sure that a genius like Mozart, were he born today, would write concertos like Chopin and not like Mozart.
O Mozart, immortal Mozart, how many, how infinitely many inspiring suggestions of a finer, better life you have left in our souls!
Children are given Mozart because of the small quantity of the notes; grown-ups avoid Mozart because of the great quality of the notes.
Art has always been my salvation. And my gods are Herman Melville, Emily Dickinson, Mozart. I believe in them with all my heart. And 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. Or if I walk in the woods and I see an animal, the purpose of my life was to see that animal. I can recollect it, I can notice it. I’m here to take note of. And that is beyond my ego, beyond anything that belongs to me, an observer, an observer.
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.
Mozart combines serenity, melancholy, and tragic intensity into one great lyric improvisation. Over it all hovers the greater spirit that is Mozart's - the spirit of compassion, of universal love, even of suffering - a spirit that knows no age, that belongs to all ages.
The most perfect melodic shapes are found in Mozart; he has the lightness of touch which is the true objective ... Listen to the remarkable expansion of a Mozart melody, to Cherubino's 'Voi che sapete', for instance. You think it is coming to an end, but it goes farther, even farther.
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