He died when according to the worldly wise his life work was only ripening to its true fulfillment.  But who should say after the “Magic Flute,” the Clarinet Concerto of October 1791 and the Requiem, it was not already fulfilled.  Was not the whole of his achievement implicit in his works at the age of 16 or 18?  Is it not heard  on what has come down to us from the very young Mozart?  He died in misery like an “unknown soldier”, and in the company with Calvin, and Moses in the Bible, he has no known grave.  But, what does this matter?  What does a grave matter when a life is permitted simply and unpretentiously, and therefore serenely,  authentically and impressively, to express the good creation of God, which also includes the limitation and end of man.

Here on the threshold of our problem -and it is no small achievement – Mozart has created order for those who have ears to hear, and has done it better than any scientific deduction could. 

KBCD III/3 p.298-9


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