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MUSIC
R & D
AAR EDITION INTERNATIONAL

 

 

The Direct Communication of Truth from the Composer to the Listener

 


Interpretation and Musical Truth

 

 

 

 


The Secret Radiance of the Musical Truth

 

 

 

 

 

Structural Fundamentals of the Musical Description

 

 



Higher Languages in Music

PART   III

The Freedom of the Musical Meaning

To convey a composer's message to the cognizing listener, to communicate truth through music, insight is not necessarily required on the side of the performer.
And it proves the farsightedness of our great classical composers that they succeeded not only in forming a language which is, for the most part, independent of the individual insight of an interpreter, but also in making it the accepted standard.

An analogy may further explain this statement: a Turk, who grew up in America, reads Goethe's "Faust" to a German in China.
Indeed, the Turk has learned reading by common methods. However, the excerpts he reads out from "Faust" will not always be readily understandable, and the German listener, not quite enthused about the pronunciation, will not regard it as a piece of art.
But even despite the shortcomings of the pronunciation, the words reach the listener, and Goethe's message comes through.

In the same manner, our time clads the messages of the great composers of the past into the language of today's interpretation which breathes the clatter of machines.
And from the very fact that the performer is so successful among the masses today one may conclude that he applies the machine-language of our time particularly obtrusively.

Skilfully and inconspicuously he blends the noises of day-to-day routine into the language of the orchestra. But even then, truth manages to shine through this machinistic language so popular today even if only like a very little candle in a very big dark room.

The description of each level of nature requires its own degree of perfection that perfection which is typical for the level of nature being described.
Unfortunately, the orchestral language of today is therefore only qualified to describe, to some extent authentically, the world of physics or chemistry i.e. the world of unenlivened ecology and, at most, the structure of that which medicine deals with today in the field of physiology.

In the orchestral routine of today, the higher musical orders that are represented in the musical scores of the great com-posers can be applied just as little as a big hoist with its huge booms is suited to show someone a fine golden ring, decorated with subtly cut diamonds, without destroying the ring and moreover, without dragging the whole scene into the grotesque.

So, the musician must structurally and functionally adapt his outer means of describing the truth his articulation to the structural organization of the composition in order to adequately render the message.

 

                                                                                

 


© AAR EDITION INTERNATIONAL 1982

 

 

IMMORTAL AND MORTAL TRADITION OF MUSIC
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science                  music                     art
P E T E R   H Ü B N E R  –  N AT U R A L   M U S I C   H E A R I N G

NATURAL
MUSIC HEARING

FOREWORD

OUVERTURE

III
IMMORTAL AND MORTAL TRADITION OF MUSIC

The Measure of Musical Perfection

The Freedom of the
Musical Meaning

Doubt in the Process
of Finding Musical
Truth

Producing Heat and
Cold in Music

The Harmonizing
Nature of True

Classical Music

The Intention of Conveying Truth in
Music

The Totality of All Happiness of Life in Mind

 

 

PART   III