Such a way was his [Enesco’s] sending me, in 1932, I think, to the Salzburg Festival. Mozart’s music, he said, was essentially a music of syllable and gesture; when I saw it presented dramatically and could visualize the situation behind each phrase, I would understand that even his orchestra and chamber works were built on human drama and would play (or mime) it very much better. Enesco’s word having the force of law in our house, Aba and I set off for Salzburg, traveling by car, a circumstance which gave our mission the jolly gloss of an escapade. Once in Salzburg we had a marvellous time, with sung Masses in the morning, operas in the evening, and between times picnics in the mountains. As Enesco said, the festival proved immensely helpful. Mozart’s music had never been a closed book to me, but onstage at Salzburg it became truly alive and now I have a fair understanding of it. That I owe to Enesco and my father. << less