A Quote by Thomas Hampson

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.
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.
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.
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.
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.
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.
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.
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.
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!
The revolutionary Mozart is the Mozart of his last eight years.
If you've never heard a piece of Mozart, then Mozart could sound scary or confusing, so it's all about learning.
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.
The purpose of an elevator pitch is to describe a situation or solution so compelling that the person you're with wants to hear more even after the elevator ride is over.
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.
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