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If I could only impress on the soul of every friend of music, and on high personages in particular, how inimitable are Mozart's works, how profound, how musically intelligent, how extraordinarily sensitive! (for this is how I understand them, how I feel them) — why then the nations would vie with each other to possess such a jewel within their frontiers. Prague should hold him fast — but should reward him, too: for without this, the history of great geniuses is sad indeed, and gives but little encouragement to posterity to further exertions; and unfortunately this is why so many promising intellects fall by the wayside.
--
Letter to Franz Rott (December 1787), from The collected correspondence, and London notebooks of Joseph Haydn, ed. H.C. Robbins Landon (1959), p. 73

 

Joseph Haydn

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Mozart was the Shakspeare 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".

 

Wolfgang Amadeus Mozart

 

I am indeed the one who continually says that between the simple person’s and the wise person’s knowledge of the simple there is only the ludicrous little difference-that the simple person knows it, and the wise person knows that he knows it or knows that he does not know it. But nevertheless something else does follow: Would it not be best to hold back a little on world history if this is how it stands with one’s knowledge of the simple? … This is the way I have tried to understand myself, and even if the understanding is slight and its yield poor, I have in compensation resolved to act with all my passion on the basis of what I have understood. Perhaps, when all is said and done, it is a more healthful diet to understand little but possess this with passion’s unlimited soundness in the setting of the infinite that to know much and to possess nothing because I myself have fantastically become a fantastical-subjective-objective something. I have considered it demeaning if I were to be more ashamed before human beings and their judgment than before the god and his judgment, cowardly in ignobly to inquire more about what shame before human beings might tempt me to do than what shame before the god would bid. And who are those people, anyway, the ones I am supposed to fear-a few geniuses, perhaps, some literary critics, and whoever is seen on the highways and by-ways? Or were there no human beings alive before 1845? Or what are those people compared with the god; what is the refreshment of their busy clangor compared with the deliciousness of that solitary wellspring that is in every human being, that wellspring in which the god resides, that wellspring in the profound silence when all is quiet! And compared with eternity, what else than a brief moment is the hour and a half of time I have to live with human beings? Will they perhaps pursue me in all eternity? … God’s judgment is the final one, is the only one; his co-knowledge is inescapable since it is woven into the weaves through the faintest movement of my consciousness, its most secret association with itself. His presence is an eternal contemporaneity-and I should have dared to be ashamed of him!

 

Soren Aabye Kierkegaard

 

I don't really go along with this sense that you sometimes pick up - that is, classical music is superior to everything else. I think classical music is a very great music form, but I can also think of other great music forms. And certainly within each field, you have absolute geniuses operating. Over the years, I've tried to bring together different people from different fields, and I do try to put Bach and Beethoven next to other types of musicians.

 

Joanna MacGregor

 

Blood will stream over Europe until the nations become aware of the frightful madness which drives them in circles. And then, struck by celestial music and made gentle, they approach their former altars all together, hear about the works of peace, and hold a great celebration of peace with fervent tears before the smoking altars.

 

Novalis

 

When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.

 

Ingmar Bergman