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Updated: June 15, 2025
All this, no doubt, entered into the soul of Mozart, and had its meaning for him; but where I seem actually to see him, where I can fancy him walking most often, and hearing more sounds than elsewhere come to him through his eyes and his senses, in the Mirabell-Garten, which lies behind the palace built by an Archbishop of Salzburg in the seventeenth century, and which is laid out in the conventional French fashion, with a harmony that I find in few other gardens.
It was in the Mirabell-Garten that I seemed nearest to Mozart. The music of Mozart, as one hears it in "Die Zauberflöte," is music without desire, music content with beauty, and to be itself. It has the firm outlines of Dürer or of Botticelli, with the same constraint within a fixed form, if one compares it with the Titian-like freedom and splendour of Wagner.
He gives you harmony which does not need to mean anything outside itself, in order to be supremely beautiful; and he gives you beauty with a certain exquisite formality, not caring to go beyond the lines which contain that reticent, sufficient charm of the Mirabell-Garten.
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