The Function of Creative Hearing
Written and Sounding Language of Music
The Potential of Reproduction
The Golden Magic Key to Musical Performance: Dynamic Space Stereophony
Authentic Realization of the Musical Creative Process
Structuring the Musical Sound-Space in the Acoustic Space
The Intention of the Composer
Writing Down the Score
The true composer does not need to play his music on an instrument to know what it it will sound like. Does someone writing a letter need to read the text aloud, to know only then, from his outer listening, what it contains?
For the true composer only one practical question arises: 'How can I make audible to others what I have heard within?' And only then, with this question, his outer craft of composing begin: choosing the appropriate instrumentation, and the notation of his musical ideas in symbols which the musician understands and masters.
As he writes down the score, the composer has to cope with outward means of description which are quite inaccurate compared to what he has heard within. Also, he encounters a fundamental restriction in the mental-spiritual limitations of insufficiently trained interpreters who lack an innerhuman musical education, a lack which, in the course of the last centuries, has resulted in the side-by-side playing of today's orchestras.
This synchronized side-by-side playing is in blatant contrast to the togetherness of the musical ideas which the composer experiences within himself.
Therefore, the composer of today looks for safe and, if necessary, completely unconventional new means for the outer realization of his innermusical experience.
Our time in particular offers the musical creator possibilities unheard of before. Advancements in the field of technology are so great that, for the first time in known music history, the classical composer finds at his disposal, like a golden magic key, an almost unlimited reservoir of resources for the authentic, outer realization of his inner musical creations.
The potential of today's computer technology particularly in the area of analogue and digital music recording and processing is suited to overcome all prevailing limitations of interpretation in favour of a purely musical realization. With the help of Dynamic Space Stereophony, the musical creator today is able to reproduce his internally heard composition in the acoustic space in a hitherto unexpected, three-dimensional form. And he is able to structure the musical sound-space so perfectly that the composer's immediate inner impression of the original creative process is recreated within the listener's enlivened awareness.
Thus, for the great composer, an old dream has become a reality today for the great musical poet. The world of inner unboundedness, as experienced by the composer during his creative process, now is also open to the means of outer musical performance.
When the composer writes down the musical ideas, which are unfolding within him, from what he hears inside, his desire is to inspire the listener to greater personal freedom.