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Missing Mozart Manuscript

One day, rummaging through a dusty old attic in a small Austrian town, a collector comes across a faded manuscript containing many pages of music. It is written for the piano. Curious, he takes it to a dealer. The dealer phones a friend, who appears half an hour later. When he sees the music he becomes excited, then puzzled. This looks like the handwriting of Mozart himself, but it isn’t a well-known piece. In fact, he’s never heard it. More phone calls. More excitement. More consultations. It really does seem to be Mozart. And, though some parts seem distantly familiar, it doesn’t correspond to anything already known in his works.

Before long, someone is sitting at a piano. The collector stands close by, not wanting to see his precious find damaged as the pianist turns the pages. But then comes a fresh surprise. The music is wonderful. It’s just the sort of thing Mozart would have written. It’s energetic and elegiac by turns, it’s got subtle harmonic shifts, some splendid tunes, and a ringing finale. But it seems … incomplete. There are places where nothing much seems to be happening, where the piano is simply marking time. There are other places where the writing is faded and it isn’t quite clear, but it looks as though the composer has indicated, not just one or two bars rest, but a much longer pause.

Gradually the truth dawns on the excited little group. What they are looking at is indeed by Mozart. It is indeed beautiful. But it’s the piano part of a piece that involves another instrument, or perhaps other instruments. By itself it is frustratingly incomplete. A further search of the attic reveals nothing else that would provide a clue. The piano music is all there is, a signpost to something that was there once and might still turn up one day. There must have been a complete work of art which would now, without additional sheet music, be almost impossible to reconstruct; they don’t know if the piano was to accompany an oboe or a bassoon, a violin or a cello, or perhaps a full string quartet or some other combination of instruments. If those other parts could be found, they would make complete sense of the incomplete beauty contained in the faded scribble of genius now before them. …

This is the position we are in when confronted by beauty. The world is full of beauty, but the beauty is incomplete. Our puzzlement about what beauty is, what it means, and what (if anything) it is there for is the inevitable result of looking at one part of a larger whole. Beauty, in other words, is another echo of a voice — a voice which (from the evidence before us) might be saying one of several different things. …

- N. T. Wright, Simply Christian: Why Christianity Makes Sense (HarperCollina, 2010), p. 39.

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