A Quote by Wolfgang Amadeus Mozart

I do not hear in my imagination the parts successively, but I hear them gleich alles zusammen - at the same time all together. — © Wolfgang Amadeus Mozart
I do not hear in my imagination the parts successively, but I hear them gleich alles zusammen - at the same time all together.
Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once (gleich dies zusammen). What a delight this is I cannot tell ! All this inventing, this producing, takes place in a pleasing lively dream.
The whole, though it be long, stands almost complete and finished in my mind so that I can survey it at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What delight this is I cannot tell!
I think right now is when we need to hear different voices coming out of all parts of the world. You can't just hear the politicians and the military leaders. You have to hear from the taxi drivers. You have to hear from the painters. You have to hear from the poets. You have to hear from the school teachers and the filmmakers and musicians.
There are some stories you can't hear enough. They are the same every time you hear them. But you are not. That's one reliable way of understanding time.
You seldom listen to me, and when you do you don't hear, and when you do hear you hear wrong, and even when you hear right you change it so fast that it's never the same.
I don't think you can replaces great themes. But I think people do want to hear fresh arrangements of them. They don't want to hear them played the same way all the time.
The trouble is, most people are not so generous. Everybody wants love for themselves. I hear this all the time from the women I work with. I hear them say, "I want, I want." I never hear them saying what they want to give.
The group-effort sound in recording of 'Sea Lion' is like, you really hear all the people in the room and hear them interlocking. There's a real freight-train energy of all these people at the same time playing.
The group-effort sound in recording of Sea Lion is like, you really hear all the people in the room and hear them interlocking. Theres a real freight-train energy of all these people at the same time playing.
I hear the headlines on the radio, see them on TV and read them in the paper. When I hear from the men out there, I sometimes don't believe they are talking about the same situation.
Whenever I hear somebody cover a song, I don't like to hear it stray too far from the original. I like to hear some of the new energy that a band will put into it, but you kind of want to hear some of the basic parts of the song. I mean, that's what makes it the song that you like.
I hear all the critics, man. I hear them saying 'He's done.' I hear them saying 'He can't.' I hear all that. That keeps me going.
I don't mind him not talking so much, because you can hear his voice in your heart; the same way you can hear a song in your head even if there isn't a radio playing; the same way you can hear those blackbirds flying when they're not in the sky
When I'm making music, I can hear all the parts, all the instruments. I can hear what it should be.
I just want people to hear the music the way it's suppose to sound, the way we meant for them to hear it. You sit in the studio all this time and make the music, tweak it, try to get it perfect. They should be able to hear it that way.
I just refuse to listen to any more lies. You hear them from FEMA, you hear them from Red Cross and I just didn't want to hear it from him.
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