A Quote by Richard Strauss
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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Men rush to California and Australia as if the true gold were to be found in that direction but that is to go to the very opposite extreme to where it lies. They go prospecting farther and farther away from the true lead, and are most unfortunate when they think themselves most successful.
Mozart for me is the No. 1 composer. His music is not just joy or sadness. It's deep emotion with a touch of lightness, which is the most difficult thing to do.
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.
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!
I listen to tons of hard rock and metal, like Iron Maiden, Motorhead, etc., but I also listen to Beethoven and Mozart, to Discharge and the Bad Brains, and to Charlie Parker and Duke Ellington. So I think there's merit to both the melodic punk and to the hardcore stuff too.
I think I'm like most novelists in that my books have gotten farther and farther away from autobiography the longer I've been writing them.
The great quality of true art is that it rediscovers, grasps and reveals to us that reality far from where we live, from which we get farther and farther away as the conventional knowledge we substitute for it becomes thicker and more impermeable.
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 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.
This is a quarterback-driven league. We all know that, and we all know, to succeed and to go a little bit farther and farther and farther, you need one of those guys.
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.
Quick souls have their intensest life in the first anticipatory sketch of what may or will be, and the pursuit of their wish is the pursuit of that paradisiacal vision which only impelled them, and is left farther and farther behind, vanishing forever even out of hope in the moment which is called success.
The safety requirements, which are necessary, spread everything out and push people farther and farther away from the stage and from each other.
So I've been pushed farther and farther out into the mountains, but at the same time realizing that that experience is really nice and I'm glad I'm getting pushed out there farther.
Delsarte tells me that Mozart stole outrageously from Galuppi, in the same way, I suppose, that Molière stole from anybody anywhere, if he found something work taking. I said that what was Mozart had not been stolen from Galuppi, or from anyone else for that matter.
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