Mozartiana: Two Centuries of Notes, Quotes, and Anecdotes about Wolfgang Amadeus Mozart
Mozartiana is a surprising, eccentric, and enchanting testament to the genius of Wolfgang Amadeus Mozart. Artist Joseph Solman has gathered opinions, remembrances, letters, and more-from Albert Einstein, Virginia Woolf, Friedrich Nietzsche, Leonard Bernstein, Maurice Sendak, and some 200 others-and blended them with his own sketches and drawings of the great composer. The result is a glorious celebration of Mozart's life and art, and a unique gift to music lovers everywhere.
film-music or by television to show off before millions or by the stage to write piffling musical comedies. This has happened to virtually every promising musical talent since Stravinsky, with the possible exception of Britten. For this reason, I don't believe the world is ever going to see the likes of Bach or Mozart or Beethoven or Schubert or Brahms or Sibelius again, not of course that they happen very often anyway. We must be thankful for what we've got. —ROALD DAHL The science of
Mozart's younger son. —E. J. BREAKESPEARE, Life of Mozart It is a peculiar irony of fate that the man whose inner ear has, so to speak, the highest human development has a retarded and malformed outer ear. —P. H. GERBER, 1898 "Mozart ear" has a round and sometimes almost square appearance . . . the upper half of the ear is flat [and] the ear lobe is ill developed or absent . . . the general prevalence in a hospital population seems to be less than one in a 1000. . . . Who first
GIOVANNI Premiere: October 29, 1787, Prague How can one say Mozart composed Don Giovanni] As if it were a piece of cake or biscuit stirred together out of eggs, flour and sugar! It is a spiritual creation, in which the details as well as the whole are pervaded by one spirit and by the breath of one life. —JOHANN WOLFGANG VON GOETHE After the Vienna premiere— EMPEROR JOSEPH: The opera is heavenly, perhaps even more beautiful than Figaro. But not food for the teeth of my Viennese.
inwardly that the unpracticed ear has difficulty in following him in his works. Even practiced ones must hear his pieces several times. -ERNST LUDWIG GERBER, chamber musician to the Prince of Schwarzburg, from his Old Lexicon, 1790— a year before Mozart's death He produced works that seemed to differ widely from everything that had heretofore been heard and seen . . . filled with a richness of invention and beauty that only a few could elucidate—the majority could only feel. . . .
sound. Even if the composers who have shaped the modern musical sensibility turn out, in the end, to be only minor figures, we will owe to their aesthetic the rediscovery and the revaluation of Mozart and his predecessors. —RICHARD SCHICKEL, The World of Carnegie Hall It has become the custom to treat this most sublime of all tonal masters as a "rococo artist," to represent his work as the epitome of the ornamental and the playful. Though it is correct to say that he was one who solved