People from Salzburg

"I write as a sow pisses."

"Sie wird das nothwendigste und härteste und die hauptsache in der Musique niemahlen bekommen, nämlich das tempo, weil sie sich vom jugend auf völlig befliessen hat, nicht auf den tact zu spiellen."

"I know myself, and I have such a sense of religion that I shall never do anything which I would not do before the whole world; but I am alarmed at the very thoughts of being in the society of people, during my journey, whose mode of thinking is so entirely different from mine (and from that of all good people). But of course they must do as they please. I have no heart to travel with them, nor could I enjoy one pleasant hour, nor know what to talk about; for, in short, I have no great confidence in them. Friends who have no religion cannot be long our friends."

"The most stimulating and encouraging thought is that you, dearest father, and my dear sister, are well, that I am an honest German, and that if I am not always permitted to talk I can think what I please; but that is all."

"I must give you a piece of intelligence that you perhaps already know — namely, that the ungodly arch-villain Voltaire has died miserably like a dog — just like a brute. That is his reward!"

"A fellow of mediocre talent will remain a mediocrity, whether he travels or not; but one of superior talent (which without impiety I cannot deny that I possess) will go to seed if he always remains in the same place."

"As I love Mannheim, Mannheim loves me."

"…passions, violent or not, must never be expressed to the point of disgust, and Music must never offend the ear, even in most horrendous situations, but must always be pleasing, in other words always remain Music…"

"My fatherland has always the first claim on me."

"The golden mean, the truth, is no longer recognized or valued. To win applause one must write stuff so simple that a coachman might sing it, or so incomprehensible that it pleases simply because no sensible man can comprehend it."

"I care very little for Salzburg and not at all for the archbishop: I shit on both of them."

"As death, when we come to consider it closely, is the true goal of our existence, I have formed during the last few years such close relationships with this best and truest friend of mankind that death's image is not only no longer terrifying to me, but is indeed very soothing and consoling, and I thank my God for graciously granting me the opportunity...of learning that death is the key which unlocks the door to our true happiness. I never lie down at night without reflecting that —- young as I am — I may not live to see another day. Yet no one of all my acquaintances could say that in company I am morose or disgruntled."

"It is a mistake to think that the practice of my art has become easy to me. I assure you, dear friend, no one has given so much care to the study of composition as I. There is scarcely a famous master in music whose works I have not frequently and diligently studied."

"Melody is the essence of music. I compare a good melodist to a fine racer, and counterpointists to hack post-horses; therefore be advised, let well alone and remember the old Italian proverb: Chi sa più, meno sa—Who knows most, knows least."

"Stay with me to-night; you must see me die. I have long had the taste of death on my tongue, I smell death, and who will stand by my Constanze, if you do not stay?"

"All I insist on, and nothing else, is that you should show the whole world that you are not afraid. Be silent, if you choose; but when it is necessary, speak—and speak in such a way that people will remember it."

"Neither a lofty degree of intelligence nor imagination nor both together go to the making of genius. Love, love, love, that is the soul of genius."

"When I am, as it were, completely myself, entirely alone, and of good cheer — say traveling in a carriage, or walking after a good meal, or during the night when I cannot sleep — it is on such occasions that my ideas flow best, and most abundantly. Whence and how they come, I know not, nor can I force them."

"I pay no attention whatever to anybody's praise or blame. I simply follow my own feelings."

"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."

"Mozart's music is free of all exaggeration, of all sharp breaks and contradictions. The sun shines but does not blind, does not burn or consume. Heaven arches over the earth, but it does not weigh it down, it does not crush or devour it. Hence earth remains earth, with no need to maintain itself in a titanic revolt against heaven. Granted, darkness, chaos, death and hell do appear, but not for a moment are they allowed to prevail. Knowing all, Mozart creates music from a mysterious center, and so knows the limits to the right and the left, above and below. He maintains moderation."

"I have always reckoned myself among the greatest admirers of Mozart, and shall do so till the day of my death."

"21 piano sonatas, 27 piano concertos, 41 symphonies, 18 masses, 13 operas, 9 oratorios and cantata, 2 ballets, 40 plus concertos for various instruments, string quartets, trios and quintets, violin and piano duets piano quartets, and the songs. This astounding output includes hardly one work less than a masterpiece."

"Lengthy immersion in the works of other composers can tire. The music of Mozart does not tire, and this is one of its miracles."

"Listening to Mozart, we cannot think of any possible improvement."

"Mozart, particularly, I loved. I was determined to write poetry that had as a structure what classical music, particularly Mozart, has as a structure."

"Mozart is undoubtedly one of the greatest of original geniuses, and I have never known any other composer to possess such an amazing wealth of ideas. I wish he were not so spendthrift with them. He does not give the listener time to catch his breath, for no sooner is one inclined to reflect upon a beautiful inspiration than another appears, even more splendid, which drives away the first, and this continues on and on, so that in the end one is unable to retain any of these beauties in the memory."

"Mozart's influence transcends history. Each generation sees something different in his work. Mozart's music, which to so many of his contemporaries still seemed to have the brittleness of clay, has long since been transformed into gold gleaming in the light, though it has taken on the different luster of each new generation No earthly remains of Mozart survived save a few wretched portraits, no two of which are alike; the fact that all the reproductions of his death-mask, which would have shown him as he really was, have crumbled to bits seems symbolic. It is as though the world-spirit wished to show that here is pure sound, conforming to a weightless cosmos, triumphant over all chaotic earthliness, spirit of the world-spirit."

"how can one live without Mozart."

"I tell you before God and as an honest man that your son is the greatest composer known to me; he has taste and in addition the most complete knowledge of composition."

"You wish me to write an opera buffa for you. Most willingly, if you are inclined to have a vocal composition of mine for yourself alone, but if with a view to produce it on the stage at Prague, I cannot in that case comply with your wish, all my operas being too closely connected with our personal circle, so they could never produce the proper effect. ... But even then I should risk a great deal, for scarcely any man could stand beside the great Mozart. I only wish I could impress on every friend of mine, and on great men in particular, the same depth of musical sympathy and profound appreciation of Mozart's inimitable music that I myself feel and enjoy; then nations would vie with each other to possess such a jewel within their frontiers.... It enrages me to think that the unparalleled Mozart is not yet engaged by some imperial or royal court! Forgive my excitement, but I love the man so dearly!"

"There is a wretched unbelief abroad which seems to contain much healing power. It deems such a connection accidental, and sees in it only a lucky conjunction of the different forces in the game of life. It thinks it an accident that the lovers win one another, accidental that they love one another; there are a hundred other women with whom the hero would have been equally happy, and whom he could have loved as deeply. It thinks that there has been many a poet who might have become as immortal as Homer, if this splendid subject had not already been appropriated by him; many a composer who might have made himself as immortal as Mozart, had the opportunity offered. … The accidental has but one factor; it is accidental that Homer found in the Trojan War the most distinguished epic subject conceivable. The fortunate has two factors: it is fortunate that the most distinguished epic subject fell to the lot of Homer; here the accent falls as much on Homer as on the material. It is this profound harmony which reverberates through every work of art we call classic. And so it is with Mozart; it is fortunate that the subject, which is perhaps the only strictly musical subject, in the deeper sense, that life affords, fell to — Mozart."

"My brother was a rather pretty child."

"Your countenance ... was so grave that many intelligent persons, seeing your talent so early developed and your face always serious and thoughtful, were concerned for the length of your life."

"But what is it about Mozart? Is there a pianist alive who really manages to play him well? Casadesus, whom I heard in Odessa in the F major Sonata K 332 – it must be about a century ago – left an unforgettable impression, a miracle such as one rarely witnesses. And then there was Neuhaus, who played the A minor Rondo in so touching a manner that it almost reduced you to tears. It's odd, but Haydn – who seems after all to be fairly close to Mozart in terms of genius – is infinitely less difficult to play (he's almost easy in fact). So what's Mozart's secret?"

"Pascal and Felix Mendelssohn were prodigiously precocious. But when each died before reaching age forty, each was physiologically an old man. Not so with Mozart – from him could have been extrapolated as much again in the future as had generously erupted in the past."

"What was evident was that Mozart was simply written down music already finished in his head. And music, finished as no music is ever finished. Displace one note and there would be diminishment. Displace one phrase and the structure would fall. I was staring through the cage of those meticulous ink strokes at an absolute beauty."

"Mozart was the Shakespeare of music; and as long as the immortal bard is read, Mozart will live in the admiration of mankind. He has reached the passions through the ear as Shakspeare did through the mind, and no works will live that do not touch the passions and the heart — they are the same in all ages, and will make Shakspeare and Mozart a poet and a composer "For all time"."

"In relation to God he is like a child who brings everything to his father: the stones from the street and peculiar sticks and little plants and even once a ladybug; and with him all of these things are melodies, melodies that he brings to God, melodies that he suddenly knows when he is inside of prayer. And when he has finished praying, and he is no longer on his knees and no longer has his hands folded, then he sits there at the piano, or he sings with an incredible childlikeness, and in doing so he no longer has any idea whether he is playing something for God or whether it is God who is using him to play something at once for himself and for Mozart. There is a great conversation between Mozart and God that is the purest prayer, and this entire conversation is nothing but music."

"He brought to the classical symphony not only depths of expression but the idea that the musical phrase is inextricably bound up with the particular colouration of the instrument that plays it."

"It is a sobering thought that when Mozart was my age, he had been dead for two years."

"Excluding and banning the sublime work of Mozart in the Temple for his masonry militancy seems ridiculous and even offensive to all "men of good will" who love only and above all great classical music, which they do not look with any prejudice at the choices made in life by any genius, and they do not think at all that his celestial notes could harm the soul of anyone or even disturb that of the Franciscan fathers."

"openmozart.net: Friedrich Rochlitz forgery"

"Livepictures from Mozart Birthhous in Salzburg"

"There have been applied sciences throughout the ages. … However this so-called practice was not much more than paper in nearly all of these cases, and the various applied sciences were only lacking a bagatelle, namely proper scientific practice. The applied sciences show the application of theoretic doctrines in existing events; but that is precisely what it does, it merely shows. Whereas the scientific practice autonomously puts to use these theories."

"If I tell the Berliners to step forward, they do it. If I tell the Viennese to step forward, they do it, but then they ask why."

"Those who have achieved all their aims probably set them too low."

"A New York City taxi driver asked him where to go; Karajan replied "No matter - I am in demand everywhere.""

"Isaiah Berlin referred to Karajan as "a genius, with a whiff of sulphur about him"."

"La vie même de Herbert von Karajan est un roman: petit aristocrate salzbourgeois devenu enfant prodige; étudiant viennois bûcheur acharné; chef d'orchestre de province pour qui seule compte la musique."

"Herbert von Karajan always rolled out a magic carpet for us, the singers. With him, our musical work took on another dimension."

"Everything the Nazis did to Jews we are today practicing on animals. Our grandchildren will ask us one day: Where were you during the Holocaust of the animals? What did you do against these horrifying crimes? We won't be able to offer the same excuse for the second time, that we didn't know."

"(...) we believe that we have enough buildings, enough construction, enough infrastructure. And it is now time to consolidate it and find the qualities within the built. This is not against future production, it is more about a consideration of what we really want in cities."