The in­te­grated di­ver­sity of the se­quences, melo­dies, and mo­tifs enli­vens within the lis­tener the world of his in­ner cog­ni­tion and a natu­ral aware­ness of his own in­ner power: the pro­found feel­ing of free sov­er­eignty over his in­ner po­ten­tial of hap­pi­ness.

The mu­si­cian who, when mu­si­cally struc­tur­ing the sound-space, wants to ex­press this in­ner lively world out­wardly, will ini­tially en­coun­ter dif­fi­cul­ties, be­cause some­thing from inside can­not read­ily be trans­formed into some­thing out­side.

To mas­ter this task of ex­press­ing com­pre­hen­sive hu­man val­ues through the in­ter­pre­ta­tion re­quires great ideals and the aware­ness of a deep, con­scious re­spon­si­bil­ity to­wards hu­man­ity.

Love of mu­sic is es­sen­tially a qual­ity of the lis­tener. In the in­ter­preter, in the mu­sic ex­pert, it is the love of man­kind which must domi­nate if he wants to pro­mote the good in the world through mu­sic.

And when the mu­si­cian ful­fils this re­quire­ment, he will have the ba­sic at­ti­tude needed to ac­com­plish the la­bo­ri­ous proc­ess of truth­ful con­vey­ance of mu­sic un­per­turbed, and he will emerge from it ful­filled.

In the con­ven­tional tech­nique of com­pos­ing al­ways the motif or the melody seemed to be the first, which the com­poser no­ticed dur­ing in­ner hear­ing. Around the motif or the melody he built – so one thought – the se­quence and then de­ter­mined the har­mony tech­nique.