Earlier quoted context omitted.
I really disagree with you. You say you could never compose music like Mozart, but how do you know? What if you worked at it every day for the rest of your life? Are you really certain you could never reach his level? (And bear in mind he is an extreme case.) You should read this piece by Derek Sivers called "After 15 years of practice...": http://sivers.org/15-years . Quick excerpt (but really, read the whole piece)…
Mozart was a guy who was on his way to possibly becoming history's best maker of music, except he died an unfortunately early death at the age of 35. He was writing tuneful, listenable, harmonious music at the age of four . This is a level of talent far beyond what Sivers was talking about.
There's actually a lot of ongoing debate about what exactly we mean when we call somebody "the best" at making music. Every brand of music has its own series of ethos, and many of them actively disagree with many others. I love Mozart and think he was a brilliant writer of pop music — his work is very hook-driven and similarly repeats parts until they get stuck in your head — but I have friends who find his work too simplistic to take interest in. Then there's Beethoven, whose works disappoint my more technically-obsessed friends but are so gorgeously emotional. And on the other end of it you have the Rolling Stones and the Sex Pistols and Merzbow and a line of musicians who go for things Mozart never dreamed of pursuing.
Brian Eno, pioneer of glam rock, pioneer of ambient music, one of the greatest living producers of music of all kinds, is actually very critical of classical music for this reason; he claims it bores him. He has a quote where he expresses skepticism for that kind of prodigious talent where he basically implies that any music so easy to make that you can be a prodigy at it isn't worthy of accolade:
"Classical — perhaps I should say ‘orchestral’ — music is so digital, so cut up, rhythmically, pitchwise and in terms of the roles of the musicians. It’s all in little boxes. The reason you get child prodigies in chess, arithmetic, and classical composition is that they are all worlds of discontinuous, parceled-up possibilities."
Not that I entirely agree with him, either. But the point he's making is that it's stupid for us to make these assumptions that there's such a thing as "better" or "worse" music other than what we subjectively like and dislike. In my opinion, Mozart is very, very, very good; I might even decide he's great as I continue to listen to him. But somebody else can call him shit, and I have no way to argue that they're objectively wrong. (Unless they say he's uneducated, or incompetent, because competence can be objectively argued.)
