“Everything is fine in the world when you have Mozart,” said Tom Berryhill after listening to the Quintet for clarinet, K. 581 on YouTube (YT). He is right, because when we listen to some of his works, something happens that the soul is recomposed and, as he says, everything must be fine there in what is called the world.
There is something about Mozart’s sonatas 545, 570, 576 and 533 performed by Dame Uchida Mitsuko that I found at YT edited at 432 Hz -I don’t know what it means, but they are of incredible fidelity-, which produce the feeling of well-being that makes you want to translate it into words, following a little what Stendhal said: “beauty is nothing but the promise of happiness.”
When I hear them again, it makes me want to play again like when we were children and one tried to hide, stay silent and, between pauses, run to touch the base on the tree trunk or on the wall in the opportune moment, equivalent to this that Guadalupe Morfín says in her Flash of memory:
And he was teaching us covertly
that there are also important parentheses.
And in music,
Yes, Mozart uses silences with such precision that it turns out that it produces a kind of joy in living, thus, no more, without any complications, the simple taste of being alive, avoiding time running over us while we listen to them to dream while the life lasts. sonata, until its sunset, when we can no longer play because there is no light or when the sonata ends and we retreat happy to have played in the private street of Hamburg from our childhood, humming some of the melodies.
A long time ago, in a radio interview, I said that Mozart was one of the composers that I liked the most and, therefore, I proposed that they listen to all their music, all the time, always … and what better if babies listen to it? in the womb and, then, as we grow … always.
With Mozart we walk on the sunny side of the sidewalk, illuminated by that light that he offers us in each of his sonatas or in the rest of his works, in any genre such as in Cosí fan tutte and his duets, trios, quartets or quintets that they leave us with our mouths open and sometimes a little hurt when we share with the sisters the pain of having betrayed fidelity, subtly expressed that, without hesitation, they are part of what we could call heavenly beauty.
These Mozart sonatas with the Dame Uchido Mitzuko have another variable: elegance. It is such that one lets oneself be carried away by the imagination -more now that we are in confinement-, remembering when we went for a walk along the riverbank, like the one that surrounds the country house that we have gone to so many times in Tepeji del Rio, to leave early in the morning and compare it with the music, the flow of the water that jumps between the stones and, at times, tries to return in a small whirlpool, before continuing to sizzle, lighting with flashes and the shadows of those leaves that they hang from the trees, moved by the wind from those trees grown on the shore, fed by that maternal water that, in addition, perceives the changes of the foliage in the autumn and we ask our beloved to contemplate in us “those times of year, when the yellow leaves, few or none, hang from the branches that tremble from the cold like bare ruined choirs, where the birds once sang, ”as in Shakespeare’s sonnet.
One walks at a good pace through time -the third bank of the river of Joao Guimarães Rosa-, stick in hand, taking a deep breath, letting pass the fluid of the music that we associate each time we listen to those four particular sonatas, and with that, We have again one of the most remarkable aesthetic experiences of our life.