Melody as revealed in the greatest works of our classics is one of the most noble gifts which an invisible deity has bestowed on mankind.

heaven and earth, nature and man, comedy and tragedy, … the Virgin Mary and the demons...Mozart simply contains and includes all this within his music in perfect harmony. This harmony is not a matter of “balance” or “indifference” – it is a glorious upsetting of the balance, a turning in which the light rises and the shadows fall, in which the Yes rings louder than the ever-present

Mozart's music, even at its most beautiful, often gives an impression of some being who, though very far above us in his incomprehensible serenity, nevertheless stops to remember us for a brief instant and comes within our reach, with gentle mockery and tender pity, to transcribe a fleeting message for us. But sometimes, in certain quartets and quintets, and in certain parts of The Magic Flute, this same being, without a thought for us, communicates with his fellow beings, and what we hear then is a world unknown to us, a world of which we are allowed only a furtive glimpse.

Beethoven tells you what it's like to be Beethoven and Mozart tells you what it's like to be human. Bach tells you what it's like to be the universe.

..the works of Mozart. They create a welcome pause amidst the storms of our inner life, a vision of consolation and hope, but we hear them like sounds of another, vanished and essential unfamiliar age. Clashing discords, loss of equilibrium..

The G minor Symphony is universally acknowledged to be the highest achievement of 18th century instrumental music and is also premonitory of that subjective spirit peculiar to the 19th century. It will remain immortal so long as human beings are capable of being touched by sincere revelation of emotion combined with a perfection of utterance which seems fairly Divine. This delicate treatment and this exquisite finish are two prominent characteristics of Mozart's style. Truly the Symphony is the quintessence of Mozart in terms of sound and rhythm, and we need but to listen to his message and receive it with grateful appreciation. ... The first movement begins at once with a gracefully poised theme sung by the violins, a theme which may be likened in its outlines to the purity of a Greek statue. The entrancing effect of this melody cannot be realized except on the orchestra, for it seems to float on the gently pulsating chords of the violas like a beautiful flower.

[About Mozart] In relation to God he is like a child who brings everything to his father: the stones from the street and peculiar sticks and little plants and even once a ladybug; and with him all of these things are melodies, melodies that he brings to God, melodies that he suddenly knows when he is inside of prayer. And when he has finished praying, and he is no longer on his knees and no longer has his hands folded, then he sits there at the piano, or he sings with an incredible childlikeness, and in doing so he no longer has any idea whether he is playing something for God or whether it is God who is using him to play something at once for himself and for Mozart. There is a great conversation between Mozart and God that is the purest prayer, and this entire conversation is nothing but music.

Music resembles poetry, in each
Are nameless graces which no methods teach,
And which a master hand alone can reach.

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.

The listener with no preconceptions hears massive waves of sound breaking over him and forms from them the image of a passionate soul seeking and finding the path to faith and peace in God through a life of struggle and a vigorous pursuit of ideals. It is impossible not to hear the confessional tone of this musical language; Liszt’s sonata becomes - perhaps involuntarily on the part of the composer - an autobiographical document and one which reveals an artist in the Faustian mold in the person of its author. As in the Harmonies poétiques et religieuses, the underlying religious concept which dominates and permeates the whole work demands a special kind of approach. Whereas representations of human passions and conflicts force themselves on our understanding with their powerfully suggestive coloring, this concept only becomes manifest to those souls who are prepared to soar to the same heights. The equilibrium of the sonata’s hymnic chordal motif, the transformation of its defiant battle motif (first theme) into a triumphant fanfare, and its appearance in bright, high notes on the harp, together with the devotional atmosphere of the Andante, represent a particular challenge to the listener; he is, after all, also expected to grasp the wide-spanned arcs of sound which, from the first hesitant descending octaves to the radiant final chords, build up a graphic panorama of the various stages of progress of a human spirit filled with faith and hope. As the reflection of a remarkable artistic personality worthy of deep admiration and, by extension, of the whole Romantic period, Liszt’s B minor Sonata deserves lasting recognition.

In the song of the muses the truth of everything resonates as a being filled with the gods, which shines from the depths, revealing the eternal magnificence and blessed intangibility of the divine even in the darkest darkness and suffering greater.
This is how the message of the divine reached the Greeks: not as a categorical request or as salvation in this and the other world, but rather as that which is eternal and blessed, which consoles and makes us happy not through promises , but since it is. The spirit of song announces to them the nature of the gods. In fact, singing is essentially their voice. By participating in singing, man can therefore participate in the divine, albeit in his own way, with humility. That which the song elevates into his sacred kingdom belongs to the eternal, that is to say: to that which is timeless and is connected to God.

Steiner goes further than this -- and this is his own central contribution to modern thought. He states that once we have made a habit of remembering Mozart and the stars, we shall find ourselves developing powers of 'spiritual vision.' We shall never again feel ourselves to be helpless victims of the external world.

And what delights can equal those
That stir the spirit's inner deeps,
When one that loves but knows not, reaps
A truth from one that loves and knows?

"[On Chopin's Preludes:]

"His genius was filled with the mysterious sounds of nature, but transformed into sublime equivalents in musical thought, and not through slavish imitation of the actual external sounds. His composition of that night was surely filled with raindrops, resounding clearly on the tiles of the Charterhouse, but it had been transformed in his imagination and in his song into tears falling upon his heart from the sky. ... The gift of Chopin is [the expression of] the deepest and fullest feelings and emotions that have ever existed. He made a single instrument speak a language of infinity. He could often sum up, in ten lines that a child could play, poems of a boundless exaltation, dramas of unequalled power.