Indeed no words can better be used to describe Mozart’s music than “sublime” and “natural.” Beethoven is heroic, tragic—although at the end, he too can be sublime, with the autumnal serenity of a warrior turned contemplative; Bach erects his marvelously ornate cathedrals of sound—and occasionally he too passes into a timeless realm which could be truly termed sublime, though rarely natural. But Mozart’s melodies carry something of the birth of an infant God, the remarkable union of opposite absolutes, total simplicity and infinite depth. Only here is the completely free and ever-surprising united to formal structural perfection. Mozart speaks with human words, as God spoke his Word through a birth, a life, and a death. Yet in those simple events lay the Incarnation, the eternal mission of the Son from the Father, suffering which destroys death, and transfiguration into deathless life.
Republished from Communio (Winter, 2006 issue). This quotation was first published here in August 2011.
The Imaginative Conservative applies the principle of appreciation to the discussion of culture and politics—we approach dialogue with magnanimity rather than with mere civility. Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse? Please consider donating now.
We hope you will join us in The Imaginative Conservative community. The Imaginative Conservative is an on-line journal for those who seek the True, the Good and the Beautiful. We address culture, liberal learning, politics, political economy, literature, the arts and the American Republic in the tradition of Russell Kirk, T.S. Eliot, Edmund Burke, Irving Babbitt, Paul Elmer More, Wilhelm Roepke, Robert Nisbet, M.E. Bradford, Eric Voegelin, Christopher Dawson and other leaders of Imaginative Conservatism.
The featured image is “Mozart directing imaginary actors from the operas Don Giovanni and The Magic Flute (1800s) by Carl Joseph Geiger Mozart, and is in the public domain, courtesy of Wikimedia Commons.
