The
Free Musical Formative Will
in Action
The Stars of Heaven in Music
The Secret Star-Rulers in Music
Cosmic Children's Play in Music
The Mothers of the Cosmic Star-Rulers in Music
The Absolute
Life-Force in Music
The Great Personal Secret of
the Music Listener
The Father of the World-Creators
in Music
Like
infinite waves, the sequences spring from the harmony and create their own
universes.
In their motherly wombs the sequences carry the motifs which in turn, no sooner
than they are born, create their own worlds – but like children, rather,
and with an irresistible thirst for experience – and they plunge into
the floods of the musical sound-space, like into the spaces of the cosmos,
to change the course of the stars.
These
stars we perceive in the innumerable overtone-spectra of the tones, each overtone
being a sun of its own.
The motifs make those suns rise and set, and create in that manner the vibrating,
reverberating firmament of music, a glimpse of which the common concert guest
gets sometimes.
To
the stars in the musical firmament, to the suns and moons of music which,
revolving as if unconscious on their orbits, align with the motifs, to them
the motifs as such bear great secrets.
They awaken the radiance of the stars, and this radiance looks back to them
as the mirror-reflection of their own inner manifold brilliancy.
So,
the overtones look towards the motifs, their actual basis. Focussing completely
on the glorification of the motifs, they simply pour their light over them
from all angles.
This gives the motifs the feeling of parentship, an experience which may be
compared to the attitude which playing children have towards their dolls.
By their innermost essence and by their innermost nature the motifs, in turn, concentrate completely on their own originators, the sequences, the prime mothers of music – which permeate their children with new life again and again.
To the motifs, the sequences are their natural home, their universe, their world which surrounds them, permeates them, and feeds them almightily; and the food the sequences give to the motifs is the harmony, that perfect musical world from where the sequences themselves are born.
By
nourishing their motif-children, these prime mothers are also nourished almightily,
and their calm and beautiful faces and the efflorescent nature, effervescent
with joy, of their children, the motifs, is what we call the living beauty
of music.
The power, which underlies this manifold beauty, we call the harmony, or the
father of music.
For the cognizing music listener this spontaneous discovery of his own inner, creative world is his most intimate secret, and for many a reason he will not divulge it to his neighbour.
Now he gains a clear inner knowledge of his personal potential, his genius – something his neighbour might call him, or might even dismiss him as – and this knowledge the creative music listener shares only with the creative phenomenon of the musical poet who has exemplified this experience to him in his own life.
© AAR EDITION INTERNATIONAL 1982