It’s a question that has taxed musical thinkers for centuries: just what is it about one composer’s music that makes it more distinctive than anyone else’s? Entire disciplines of academic thought, of music analysis and historical musicology, as well as the formation of classical music’s canon of “great” composers, have been given over to this single idea: can it be proved that Mozart, say, was measurably “better” than other composers?
Our instinctive feeling about the sensual magic of Mozart’s music is part of the equation, but accounting for precisely how his pieces can sustain a lifetime of listening, why their pleasures never seem to pall and are still capable of seeming to surprise us even when we know them inside out: that’s the million-dollar musicological question.
