„Classical Music” comes into being from
Since I startet to deal with „Classical Music“, this is in the middle of my
musical life. It shaped me and I’m still fascinated from its variety, from the
developments as a reaction to social and political changements and the
unlimited possibilities to interprete this music connected to a current point
of view at every time.
I’m fascinated from the huge profundity of this music, developed for
centuries in a permanent exchange between composers looking for new
musical ideas, and musicologists who are structuring and evaluating these
ideas, and this exchange will go on also in the future. From numerous
discussions and my own thoughts I created some theses which I want to
put up for discussion:
The term of “Classical Music” is ambiguous. For me it means in
written form fixed music, based on the knowledge of yet existing
music and their theoretical background, including new ideas created
in a rational process of composing, sorted out in clear formal
structures and build in a way which gives space for players and an
audience to find an emotional approach to it.
The Approach to this music needs not only for composers and
players but also for an audience the readiness to deal emotionally
and rationally with the music and there backgrounds.
“Classical” music does not mean “better” music, it only needs
another way of access: it needs a focused attention based on the
redemption of the individual ego. This is a dimension which leads out
from everyday life and which is able to produce a huge internal force
to everybody who is involved.
“Classical Music” comes into being from focused silentness and ends
with focused silentness until applause close the focus.
“Classical Music” has been music for a minority in the past which
also will not change in the future. In a democratic society based on
the will of majority this music needs a very special support by
musicians, the audience, economy and politics.