74
" Despite her fears of abandonment, Anaïs continued to see Hugo, hoping that they would get married yet wondering if they would be happy together. In a diary entry on September 15, 1922, she wrote, “Hugo is human. . . . I must learn to fashion my dreams out of clay, to descend in order to rise, because I am repudiating the human, I am repudiating the roots of divinity. What is is what I must learn to love.” By giving up her childish dreams of perfection, Anaïs felt that she had become a woman, ready for marriage. "
― Hourly History , Anaïs Nin: A Life From Beginning to End
79
" The early to mid-1780s were years of exponential growth for Mozart, not only in terms of his family and career but in his style and exposure as a composer and musician. He met Gottfried van Swieten, a Viennese government official who was a keen patron of musicians at this time. He gave Mozart access to his formidable library of compositions, and Mozart delved into study of the works of some famous predecessors, most notably Johann Sebastian Bach and George Frideric Handel. Access to the breadth of their work highly influenced many of Mozart’s works in the year to come, as he shifted to a more Baroque style in many of his compositions. This influence can most clearly be heard in his opera The Magic Flute, as well as Symphony No. 41. It was also at this time, and perhaps influenced by his study of the greats that came so recently before him, that Mozart wrote one of his greatest liturgical pieces, Mass in C minor. It was performed for the first time in 1783 when Wolfgang and Constanze traveled to Salzburg in order to visit Mozart’s father and sister. "
― Hourly History , Mozart: A Life From Beginning to End