All great mu­si­cal poets ex­pect the in­ter­preter to com­pre­hend their mu­si­cal-ar­tis­tic in­ten­tion, and to have the de­sire to serve hu­man­ity.
Fur­ther­more, the in­ter­preter must know the mean­ing of the com­poser’s in­di­vid­ual mes­sage to his lis­tener. Only on this basis is it pos­si­ble for the in­ter­preter to trans­form the mu­si­cal mean­ing into a state­ment which is nei­ther fixed nor an end to it­self, but is only his outer, prac­ti­cal means to convey to the lis­tener the com­poser’s spe­cific and mu­si­cally coded mes­sage in a fresh and au­then­tic man­ner.

In re­al­ity, to the clas­si­cal com­poser, mu­sic is just the poetic me­dium for the de­scrip­tion of the in­ner do­main of hu­man free­dom, to in­spire the lim­ited for the unlim­ited.

An analy­sis of power shows that mu­sic is di­vided into two large sphe­res: an ac­tive and a pas­sive sphere, a crea­tive and a cre­ated sphere, the sub­jec­tive and the ob­jec­tive field of mu­sic. Where the sounds origi­nate, where the world of the mu­si­cal sound-space be­gins, there ends the sub­jec­tive sphere of mu­sic, and there be­gins its ob­jec­tive field, ex­tend­ing all the way to the acous­tic event.

This ob­jec­tive field of mu­sic also in­cludes the di­men­sion of our in­ner hear­ing; be­cause the proc­ess of in­ner hear­ing in­cludes the think­ing of sounds on the level of the mind (i.e., the mu­si­cal thought), as well as the or­gan for sur­vey­ing the thought (the sense of hear­ing), but also the mecha­nism of sur­vey­ing it­self (the me­chan­ics of the sense of hear­ing).

How­ever, this outer world of think­ing is lim­ited in space and time whereas that, which lies at its basis and gen­er­ates it, is lo­cated be­yond space and time and con­sti­tutes the sub­jec­tive, the crea­tive sphere of mu­sic.
If this in­ner, sub­jec­tive sphere is not the con­scious, natu­ral basis of the com­poser’s mu­si­cal think­ing, the mu­si­cian him­self as well as his lis­tener will be barred from the enli­ven­ing, re­ju­ve­nat­ing ef­fect of mu­sic, from the im­mor­tal nectar of the di­vine crea­tive spark, and through their sense of hear­ing they will ex­peri­ence only the outer prod­uct: the world of the ob­jec­tive, the world of the pow­er­less, the mortal as­pect of mu­sic – its body.

This clear in­sight into the sub­jec­tive and ob­jec­tive sphere of mu­sic re­moves mu­sic and the crea­tion of mu­sic, at their very roots even, from the field of tones into the world of the alive alone – thus prescribing com­pletely new ho­ri­zons for pro­fes­sional mu­sic edu­ca­tion. It calls for a sys­tem­atic train­ing of com­pre­hen­sive hu­man ca­pa­bili­ties which reach into the depth of man’s per­son­al­ity.