Why Mozart Rocks So Hard. Artistic Genius Explained.

Leon Botstein is a conductor and academic known for his innovative programs and interest in contemporary and neglected repertory. He was a violin student of Roman Totenburg and studied conducting with James Yannatos, Richard Wernick, and Harold Farberman. He pursued dual careers in academics and music and became a teaching fellow in general education at Harvard University from 1968 to 1969, and then a lecturer in the department of history at Boston University in 1969. Meanwhile, he began conducting and from 1973 to 1975, and he was the principal conductor of the White Mountain Music and Arts Festival. In 1975, he became president of Bard College in Annandale-on-Hudson, New York, a position he still holds today.
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Clearly the more you think about each separate art form, movies, films, buildings, music, painting, sculpture, performance art you develop sensibilities, criteria.  There was a great example for example in the case of the composer Mozart.  He had a pupil, Thomas Atwood who became a court composer in England during the reign of Victoria.  He was a fine musician, but not a great talent, perfectly fine craftsman and wrote a fair amount of music, none of which has survived, but very competent.  Now his music is art music.  It’s fine.  It’s good.  It’s interesting.  It is historically interesting because every age has its own artistic currents and it is very interesting to understand the past.  Art is a terrific instrument for getting under the skin so to speak of a past era.  

Now Thomas Atwood studied with Mozart.  Now Mozart was not much of a teacher.  He did it only for the money and the strange thing about Thomas Atwood is that it’s the one complete record because he was English and very meticulous he kept his lessons with Mozart.  It’s the only record we have of Mozart teaching.  We don’t have any real records of Beethoven teaching.  We have people telling us sort of what he did, but he was not a systematic teacher.  In Mozart he gave Atwood lessons and exercises and there is a great example of a minuet dance in which he gave Atwood a baseline and asked him to fill it out.  You have one line.  You had to fill it out and give it melody, so he gave him a baseline, a kind of foundation in which to write the minuet, which is a dance in three meter and the fascinating thing is when Mozart was correcting it he made slight changes and if you play Atwood’s exercise that he gave back to Mozart and Mozart’s just to fill the time, just think about it, editing and changing of it you see the difference between the ordinary and the great and blindfold and audience who has listened to a lot of 18th century minuets will identify the Mozart one right away.