“Mozart had extensive training from his father, who was widely considered the greatest living music teacher in all of Europe at the time.”

—  Daniel Levitin

This is Your Brain on Music (2006)

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Daniel Levitin 76
American psychologist 1957

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“By this time Mozart had been dead for almost fourteen years and Haydn was too weak to compose. Beethoven was unchallenged throughout Europe as the greatest living composer of instrumental music. Even more, he was generally recognized as having surpassed his famous predecessors. This, of course, did not prevent critics from greeting each new work as a disappointment after his by then acceptable achievements of the previous years.”

Charles Rosen (1927–2012) American pianist and writer on music

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“Herz, Thalberg, Heller, Felicien David and others were great virtuosos of their time, more famous than Chopin himself. They had their own personal styles, but the essence of their music was time-bound, nothing that could occupy generations after them. Chopin, in contrast, was someone special, someone who was completely different from all other artists, composers, and pianists. So too with his style. As a result, the aesthetic in approaching Chopin is distinctive: interpreting his music is the most difficult of all. For me personally, it’s the crowning of playing piano. Bach, Mozart, Chopin: these are the three who definitely created musical art in an all-embracing and overwhelming way.”

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“Above all, Chopin was the greatest master of counterpoint since Mozart. This will appear paradoxical only if we equate counterpoint with strict fugue, and Chopin wrote no formal fugues except as an academic exercise. His chief training, in both composition and keyboard playing, however, came from a study of Bach, and it was a study that engaged him all his life and which he always recommended to his pupils.”

Charles Rosen (1927–2012) American pianist and writer on music

Source: The Romantic Generation (1995), Ch. 5 : Chopin: Counterpoint and the Narrative Forms

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“And all meet in singing, which braids together the different knowings into a wide and subtle music, the music of living.”

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“If anyone can be considered the greatest writer who ever lived, it is Shakespeare.”

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“[About Mozart] 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.”

Adrienne von Speyr (1902–1967) Swiss doctor and mystic

Book of All Saints (1966)

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“Mozart didn't need a scheme for his music. He played and sang with the heavenly lightness of a child.”

Joseph Goebbels (1897–1945) Nazi politician and Propaganda Minister

Mozart brauchte kein Programm für seine Musik. Er musizierte und sang mit der göttlichen Leichtigkeit eines Kindes.
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“Why did Mozart compose music?”

Jonas Salk (1914–1995) Inventor of polio vaccine

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Arthur Rubinstein photo

“My father, good or bad, mistakes or no, had a direct line from his heart to the music to the people, to the audience. He played with logic and his own inner truth.”

Arthur Rubinstein (1887–1982) Polish-American classical pianist

John Rubinstein — reported in Kevin Kelly (February 22, 1981) "Rubinstein a Chip Off Rubinstein: John Says His Father's Music Shaped His Approach to Acting", Boston Globe.
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“To some the powers of bloody war belong,
To some, sweet music, and the charm of song;
To few, and wondrous few, has Jove assigned
A wise, extensive, all-considering mind.”

Homér Iliad

XIII. 730–733 (tr. Alexander Pope).
Iliad (c. 750 BC)

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