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What is the essence of the human affective world? Relations in the Now Between P
ast and Coming. What are the acting motivations, the emphatic motives for the em
otions and feelings that appear in the affective world, if not this double conne
ction in the present between the future and the past? Someone whom you love is m
issing, is related to the past ( "I've known it ..."); To wait for something tha
t can not come: disappointment is past and future-oriented; Hope is future-orien
ted; Action is future-oriented; Repentance is past and future-oriented, etc. The
re is nothing in our affective world that is not one of these polyvalent relatio
nships.
How is it with our omnipotent small structures? The first overtone: the octave.
They know that when a string divides in the middle, it first divides into two pa
rts: the octave appears; It divides into three: the fifth appears; It divides in
to four, five, ten, one hundred, until, for the human station, it reaches the re
sting position from which it was torn. This process arises in time, although in
a, as I said, very perceptible distance for the human being. The first note, the
octave, which is in motion, appears later than the main note, and is therefore
its future. The octave, however, is not something entirely new; It can appear ne
w under melodic conditions, but at the same time it is also the same. But in the
same way, in the repetition, the goal is, for the time being, the uniforming no
n-different ability of inertia.
'On the wing,' I'll try to show a little '(I've got so stiff fingers for two day
s, if that goes away?). So, the octav: it's something new. <Plays a nuised octav
e> This is absolutely new! ". But it is also the same. What am I playing now?
Ex 1 & 2
You see, it's the same. So, the octave is something new when it is melodically a
chieved, it really has the value of a new phenomenon, but that is a very special
, particular condition; Its function is the same.
The second overtone is completely new and unmistakably different, if the length
is divided into three, and this is the fifth. It is in itself the real future of
the fundamental tone. I do not need to play a line also in fifths, you know how
contradictory that is. In its relation to the main tone and to the other second
ary phenomena, it is predominant, and thus inheres all pre-dominant features fro
m the original tone. <On the Plate> It is characterized by the Pythagorean relat
ion 2: 3 (by dividing the string into three, the fifth being a third, and that i
s 2: 3, three are three units, and only two are I and so The fifth) is the small
est and largest opposition of the first prime numbers. It is in a right angle po
sition to the main function and is thus the most stable sound interval. By symbo
lizing all stable relationships, it is the parameter and invariable standard of
all mobile and genetic spatio-temporal structures.
So, the sound belongs to the initiative of man and at the same time he belongs t
o the universe. Why the initiative of man? I can make a melody like this - I did
it, I mean; At the same time it is - because it is recovered - the universe. So
, double affiliation. It is essential, in the tone, which is, among other things
, a spatial phenomenon, to listen to the occult time dimension, which constitute
s the essence of the relationship to man.
But a tone alone can not become music, despite its implicit late-temporal struct
ure. It is only with the appearance of the next note that the further dimensions
of the expanding activity, which are directed against the all-swallowing inerti
a, against which all devouring tendency to disappear are furnished.
I do not know whether this is clear enough, that in the division of the main phe
nomenon, in the revelation of his family, there is something that can not be int
erpreted.
<On the Wing> The essential appearance is the Quint. What does that mean? In mus
ic we have dealt with the sixteen first appearances of the overtone series, for
example, from this tone:
Ex 4
The essence is the Quint. Why not the quart? Because within this final reference
system, what is the octave ...
Ex. 5
... within this system:
Ex. 6
I can reduce everything that lies within the nine octaves of humanity:
Ex. 7-14
Thus, the octave is a final reference system - not for all expansions, <only> fo
r the harmonic and melodic. And if you take the octave as the ratio 1: 2 (which
is the Pythagorean ratio), the octave is also - as represented by the ratio 1: 2
- far from the other part played by the fifth. 1: 2 ratio:
Ex. 15
Rhytmic:
Ex. 16
Is it entirely new, or is it already in the other? Yes, of course!
Ex. 17
How about the Quint? 2: 3 ratio:
Ex. 18
Great Opposition!
Ex. 19
On the other hand
Ex. 20
It is the same again, which the opposition canceled. Are there any greater tensi
on in this opposition than the Quint? Larger non-differentiated, yes.
Ex. 21
Three against five: heavier perceptible, no greater than the <two versus> three.
The:
Ex. 22
There are no more distant dynamic positions than 2: 3.
This is also the essence of the jazzmusic, which at first drew the greatest rhyt
hmic energy out of this counter-interpretation of the two rhythms. The so-called
Hiccup, which is when I am here ...
Ex. 23
What's this? Are three eighths together against four below. [...] This "Hiccup"
can be moved, and in jazz, too, people have discovered this over time
Ex. 24
It is three against two. So, the smallest and the biggest opposition. You see, a
ll these aspects, I need to live together with you for a week, you would not be
more than a theory, but you will see in your life the same active forces that ar
e in me. Husserl calls this "intersubjective impingement."
So, we now need the material, the sound 'leave'. We have gone out of this study
of sound and we now want to tackle something else. But we have spoken very littl
e of this, should we go a little further [...]? My hour is getting scarcer, is n
ot it? We'll go on, maybe we'll come back. (Ladies and Gentlemen, I promise you
of your direct interest later - with questions in this respect - much more than
from this theoretical presentation.)
[p ]
We are now leaving the material and dealing with the nature of the human mind. T
he human mind is a self-contained, indivisible entity, which is constantly oppos
ed to a variety of phenomena. He is therefore a closed unity, a "one," and can o
nly have something to do with another "one" at a time. In his intention, directe
d towards the outside, to be appropriately identified with perceived ones - to i
dentify appropriately with the perceived! Or to exclude the irreparable, irrecon
cilable: this is the ontological essence of its function. This unique nature of
the human mind is called Sanskrit ekagrata. We do not have an equivalent concept
in German. The English are better off this time, they call it onepointedness. O
ne-on-one. We can, however, translate the facts intelligently, circling what is
meant, with "non-dualistic nature of free consciousness." If the mind were not t
o be able to absorb what is proper and leave it, that is, to transcend it, there
would be no other possibility of a next appropriation experienced in the correl
ation. Through the transcendental transcendence in the here and now (transcenden
ce of immanent appropriation), the spirit regains its freedom; The impartiality
that is conditio sine qua non for the next connotation. Merging the differences,
eliminating any form of duality, is the only possible performance of our mind.
As a result, every variety must be united in a fact that seems to be closed to i
t. The elimination of all differences, the integration of all parts into a whole
, we call "reduction."
[p24]
(For the phenomenologists: here the paths of musical phenomenology are different
iated from the philosophical ones.) Husserl calls reduction by means of "parenta
lism", "exclusion," "overthrowing," etc. We have gone absolutely differently. )
Integrating has nothing to do with the mathematical and formal logic as the rest
oration of the unity of the differentiated. It is not a restoration, but a one-t
ime and first-time re-creation, which requires only one condition: the mutually
complementary, mutually complementary relations between the parts or modes of be
ing. (The relationship: "red nose" and "the will as an idea" can not be integrat
ed.)
In a series of phonetic perceptions, each individual phenomenon disappears and t
he question arises: What remains? What remains is the relationship that can only
be experienced through transcendence. The transcendent mind is neither in the f
irst term of a relation, nor in the second, but it transcends all the two, and i
s the essence of its comprehension, being related, and related relation. Disappe
aring relationships? ... Not? Yes, but not like the sounds from the physically p
erceptible sector where they have occurred; But they integrate into a new, highe
r, transcendental unity, which is the permanent work, the eternally possible fun
ction of the human mind.
[p25]
We have thus encountered a cardinal difference between European philosophy and t
he real facts. Since Brentano, the teacher of Husserl, European philosophy has p
roceeded from the apodictic, axiomatic assumption that every consciousness is "c
onsciousness of something". This is also the riddle of our whole philosophy. For
us, nothing is more false than that. The yogis know this since reflexive thinki
ng has existed. Before the consciousness reaches something, it must exist existe
ntially. Only when it has gripped, it becomes awareness of something. And if it
has gripped - how can it still be pure? What does the yogi's recommendation to t
he student always mean when he meditates: "Emptiness! Do not let the omnipotent
light of your consciousness be diminished by something that rises above the grou
nd. Violent Violation? Or is it the unrestricted, unconditioned experience of om
nipotent light, that is, the highest activity? As I said, you can not talk about
it, you can only experience it. (Millions of young people are trying today, may
be for the first time in the history of this planet in this latitude, and they o
nly bring their indomitable urge for freedom to this cosmic enterprise.)
Now back to the sound. We have seen that a sound alone can not be music. After t
he first sound, another appears, the first articulation arises, which produces t
he communication between hearing and hearing. This is not enough, however, to ke
ep the listener under the spell of a sound event. In what follows this articulat
ion, the other living feature will show itself, which from the association of tw
o tones forms the smallest building block of the future building. This feature i
s directed.
[p26]
What are the relationships between two consecutive tones? The second note is equ
al to the first, which is the first case. In the opposition of two equal tones,
for the first time, the most elementary, time-consuming sound structures materia
lize, the appropriate prerequisite that the metamorphosis of all tondata in musi
c takes place.
The second case would be followed by a single tone. At the first note, we have f
ound that he is not only a spatial phenomenon, but also has a temporal dimension
. His family comes after him. For the first time in this narrow space, we are co
nfronted with a phenomenon which remains significant, essential, for everything
that later results from it. <Shows on the panel> If the second note is the same,
we are faced with a whole new situation. Do I feel the second tone, which is ph
ysically the same as that, equal? Of course not, because the first tone left som
ething to me. (Otherwise, I can not say that the second is a second.) There is a
n impression, whether it be in my memory, or in this incredibly prepared sensiti
vity of man. This tone no longer has this incredible advantage of falling into a
unprocessed field, but falls on a field that is worked by this tone. For God's
sake! Then there is no repetition in the music? Of course there are no. For from
the first time I have received something, the second time, what we call repetit
ion, falls on something worked. How often can you walk on fresh snow without usi
ng the same footprints? Once.
[p27]
This is an absolutely new phenomenon, you will say - it is also! <Drawing on the
board> Did she have something with him? Only when I look at all two phenomena i
n themselves ... and that in themselves ..., then they are equal. How can we abs
orb something in a career? If so, the position of the same phenomenon of the fir
st is different from the position of the first to the second. The second appears
Ex. 30
In the second, in which the attack was stronger, I heard much more of his epiphe
nomena than the first. Well, how about the physical conditions? With this sound:
]
Ex. 31
[p31]
I hear all the first decisive sixteen phenomena. <Ex. 4>. How is it with the sou
nd?
Ex. 32
Is there also there? Of course, but where do they fall? Outside the human percep
tion sector, which can be heard acoustically from 16 vibrations to 20,000 and mu
sically from 32 to perhaps 8000.
So, in the one case, the family ... that is the human perception sector ... in t
he one case: this "deep" sound that is so, it is to be heard in all its identity
. This <high> tone forms the same phenomena, all falling outside the human perce
ption sector, so they are no longer audible to me.
So: kinship between the tones, kinship between the different volumes, intensitie
s. Is very strong and the other little is obviously not a big opposition. If the
strong and the strong - is a huge opposition is present. The greater the opposi
tion, the more numerous the points of contact between the facts. And the greater
the opposition, the more the contacts, the more time I need to perceive. Aha! T
hus, the temporal dimension is already contained in the interval. Thunderstorm!
Why that?
What other musical phenomenologists claim? What frescobaldi, the musician, says
the Quinta
[p32]
What other musical phenomenologists claim? What frescobaldi says, the musician w
ho has spoiled the quintuple, says about 100 or 90 years before Bach lived: "Exp
ressive passages must be played slower than the others." Where does the term com
e from? What is expression? Variety of contact points between the phenomena. I h
ave a strong and a weak, there are hardly any contact points, hardly any opposit
ions. They can not interest us. Because of the luteness, by the intensive presen
tation of the phenomena, a lot of contact points, I need more time to learn from
it through my onepointedness (the synthetic power of my spirit), ... I need mor
e time then, a relationship from it To be able to. Aha!
What does Bach, the other great phenomenologist, say by the few words he has lef
t us? "If you can not see the tempo from the sound set, let it rather be!" They
make a score, and they must know whether that is a slow movement, or a faster on
e. When will it be a slow rate? Where these oppositions, whether in kinship, in
tone, or in phrasing, are great. Aha! And is that everyone? He said: Yes! - I me
an it, too. But not after 200 years of false music practice, everything has been
broken. Today we get as the very first date or ... Information: Allegro = 52. N
ow let them run, metronome: di-di-di, and they are now trying to compile the var
ieties there - well, what can come of it? What is this temptation? Where should
it be? After all the factors that have affected us, we can say that at this rate
it is possible.
[p33]
What does Haydn say? "The harmonies of a final sentence, a prestation sentence m
ust be simple: tonic, dominant, subdominant" Oh, why that? "Chromatic harmonies
can be at slow rates." So there is something in the sound and in the sound assoc
iations, which objectively contains the tempo. And what is that? This is the deg
ree of oppositeness.
Of course I can talk about these situations (the same tone and different tones,
etc.) for a very long time, but I think only of this tragic hour which is at my
disposal. So, of course, this situation is not only so melodic, in time, but two
tones can also appear simultaneously; The points of contact between these pheno
mena are the same. If both belong to the same series of epiphenomena, the kinshi
p is close; If they do not belong, the opposition is great.
Unfortunately God, in me it is a very healthy urge and so much human love, I wan
t to convince you all that what you now hear is not a spinning, a speculation of
thinking. But that is what you always hear; What is in you - absolutely dynamic
- is active. We must go on now.
These relations between two tones reveal a series of separate partial aspects wh
ich, when the conditions are there, completely disappear in the reduction. Not e
veryone has perhaps understood what a reduction is: <On the panel> If we have se
veral individual phenomena that materialize in the present ... That would be som
ething ... <draws> ... in the now, yes? ... <On the Wing> Imagine a chord, yes?
[p34]
Ex. 33
There are horns, flutes, bassoons, viola, cello, etc. And one of these elements,
acting in the simultaneity ... on the blackboard, for example, this flute is to
o deep. What are we doing? They do not know what to do - we do not say, "You are
too deep!" When we said that, what happens? Either he has ears and changes his
pitch and returns to the existing unity. For as long as he is too deep, he is he
re and the others are here, that is, duality. <Drawing> does he find the right t
one, what happens? Will he disappear? No, it is integrated into this unit. Imagi
ne now that such a sleepy hornist mezzoforte blows and the other piano bubbles .
... He also creates a duality, there are two things. When they tell him, "Are yo
u so good, please, do not disturb the others." "Yes, yes, I beg your pardon!" No
w he blows too - has he disappeared? No, it is integrated in the "one", in the n
ow. How many such dimensions are there? Countless: It can be too soft, too hard,
it can be too deep, too [...] (I can not explain about it), it can be too extro
vert and too introvert. There are incredible points of view that could go on.
<On the blackboard> So, that is duality. It can also be that this variety is muc
h bigger: too deep flute, now too stupid trombone, too loud horn, ... too late d
ouble bass !!! ... too early trumpet variety! And if that is not the case, if ev
eryone pure ... - where pure? In the generating unit - ... the diversity disappe
ars. Only with this "one" can we have to do, for we ourselves are "one." As long
as we are confronted with an existing diversity, we can not do anything with it
. By appropriating this, it must first become a "one." And to appropriate? To be
free for the next appropriation. It is quite clear, I hope, what diversity is a
nd what is the onepointedness, the ability of the mind to associate everything.
[p35]
The joining together of two separate phenomena corresponds to the only possible
action, the one-time, first and last-time non-different ability of the mind. He
has to cope with diversity, that is, he must get out of it. He must assert himse
lf against them. As diversity is eternally new, the ability of reduction must be
eternally unused. It is a self-assertion that the mind must reduce the diversit
y. And he does it wherever possible. The act of thought is a clear reduction tak
ing place in simultaneity. In the act of thought, the comprehensible ability of
human consciousness manifests itself directly. Every definition, every generaliz
ation, every wish to be valid in valid laws, any plurality projected as a totali
ty, each reduced by the conceptual symbolism of the individual phenomenon, every
mathematical equation, the only possible conclusion arising from the numerous p
remises is the direct fruit of this potentiality Of the human mind.
But what are the irreplaceable conditions for the reduction of sound phenomena?
A condition for this is the "tempo". Yes, what the tempo is, is
[p36]
Very difficult to define. Not difficult - impossible! The tempo can be a correla
te in the physical world, but it has nothing to do with the physical time and it
s course. In terms of tempo, all temporal identifiers, such as "slow," "fast," "
not slow," "not so fast,
"Too fast," "correct", or "wrong". The assertion that a greater variety needs mo
re pace to be reduced than a smaller one is as false as the hope of the scholars
to be able to come to the basic, not divisible, endings by eternal sharing. Sin
ce tempo is a one-time condition, it can no longer be larger, smaller, less, or
different; It is unique. If the reduction did not take place, the tempo was not
wrong, but the sound sensations occurring one after the other remained what they
were and could not be reduced to a simultaneous structure. The tempo has not ex
isted as a condition at all. It can not be that the reduction did not take place
because the tempo was wrong - the tempo can not be wrong or right; The tempo ha
s no existential existential existence, it is a condition.
When experts say that the pace was correct, they speak of a flood of dry water p
rojected into the physical world that flows up the citizenry of the swine. The d
ifferences occurring in the physical time do not affect the formation of all hig
her units by reduction. The enormous confusion, the most unhealthy, is to equate
speed with speed. Tempo is not speed; Tempo is nothing. But, thus a series of s
ound phenomena are summarized in one unit
[p37]
Is a condition. As we have said, it is a correlate in the physical world - it ha
s nothing to do with it.
If you tell someone, Goethe's Faust has been told in America in two hours now, w
hat would we say? Yes, in what way? That all the words were there - possible. Th
at the sense also. "? Well, there we would say: No! We - those who have read it
a bit - we do not think this is possible. When we hear that this tempo is correc
t (verbally, only one speed is correct), it is said that in the performer someth
ing has arisen and with the receiving one as well. Can the tempo be something th
at it is right? That you, like the others, can find any meaning in it? There is
nothing to say about this. The heat manifests itself through the objects. There
has to be something that gets hot, which makes heat manifest. The objects themse
lves are not the heat.
As we have seen, the articulation of two equal tones is an opposition process th
at takes its place and its role within the whole expansion. What is "expansion"?
This spatial and temporal continuation. The essence of each spatio-temporal exp
ansion is the impermeable, so-and-not-different organic link between all the art
iculations involved in this development. The interpenetration of all the compone
nts involved: supplementing and completing each other, forgetting any form of in
dividual existence or discursive appearance, irreversible relationship between t
he whole and its parts, are unmistakable features of this interpenetration.
[p38]
As Husserl so beautifully says that "every single act of the consciousness life
is not isolated, but necessarily implies an infinite horizon of inactively valid
ating validity." Never before has a man formulated so clearly and unequivocally
what he himself has seen. We know today that the terminology of Kant was very po
lyvalent. There is even a logician [...] who has discovered with computers that
all the conclusions of his logical sequences were contained in the premises. Yes
, Husserl has not been so busy. We'll come back again.
It is clear that the material repetition of a tone, in spite of the emergence of
initial musical structures, can not create the opposition that causes the expan
sion, the expansions in space and time. Every musical articulation is an expansi
understood that all this is not correct; What animates me, I also stand for a co
ntrasting discussion.
thank you!
==============
[p44]
Discussion
Question: [...] It may be concluded from this that [..] you have actually denied
the ability to interpret the musical scientist?
Celibidache: Yes, not just the musicologist. "An ability to interpret" -I do not
believe that we are able to make anything out of what is heard. It is possible
that you do not quite perceive a variety as a certain journalist in Munich alway
s finds the tempo too slow. - You know, we have a cohesive area: where the tones
fight, when certain relationships in the bow, in the volume, in the structuring
of the present moment, when these relationships are there, four octaves higher
still arise Soundtrack, which is also very complicated. If, however, you are not
made aware of it by false education or inadequacy, and if your consciousness is
not directed to it, then you will not be able to feel the extent of a slow pace
. What is happening? Are only the cohesive substances responsible for the substa
nce? Oje, oje. That man has not yet experienced that the physical world is suppo
rted by a higher (we can call it "astral", if you wish), but that it is there, i
t does not need the ear but it needs a directed consciousness .
With a small piece like Ma mere l'Oye by Ravel, we are striving for an incredibl
y differentiated arcing so that overtones are formed four octaves higher. If the
y arise, if I hear them, I need a little more time in the physical time to make
a unity. If you do not hear these higher octaves because of your inability, the
tempo will seem much too slow for you. My tempi, recorded in a variety in the ac
tual room, or realized by me - when I hear them on the recording, they appear a
third too slow. Why? Because the microphone can not hear a third of it.
I saw Furtwangler in London when he said after a recording of a Wagner piece: "F
or God's sake, these are not my tempi! I've never been so slow! "No, the microph
one can not do that, the diversity. Not only that it can not do so, it can not t
ake up (within the first five octaves) 28 <percent> of the phenomena; To do so,
it creates its own mass (because it is a metal mass) its own overtones, which ar
e not at all in space. So, why speed as a condition? On the recording - does it
still play the same role as in the actual room? Since when has humanity perished
musically? (And that is it!) Since there are recordings; And the reference temp
o <-wide>, let's say even simpler: speed - diversity is not there at all. Becaus
e it was recorded here and you will hear in the bathroom, where a completely dif
ferent variety is created.
[Bockholdt: [..] I had the impression that you had asked the question to me befo
re, and you asked me whether I would deny Mr Celibidache the ability to interpre
t. Did I understand you correctly? I would like to answer, if you so ask, then y
ou are still moving on the ground of the concept of interpretation, which I have
attempted to portray as inappropriate. So, I do not speak to Mr. Cclibidache as
a musician, as a conductor, not the ability to interpret, but I mean that what
he is doing, and I think so, he means so too, has nothing to do with interpretat
ion.
[p46]
Question: [...] Who is the interpreter, if not the musician?
Bockholdt: Excuse me, if I can answer, I do not know who the interpreter is. I d
o not know whether there are any interpreters, but I mean only that interpretati
on of music, as well as the interpretation of works of art from other fields of
art, is something that takes place on a different ground than on the ground of a
ctivity The musician.
So, if you ask me directly - but in my lecture I also said where I see the space
in which music is interpreted, then I would answer, in the space of the broades
t theoretical limitations with music, which, however, Which I find very importan
t and, I believe, also struck out, presuppose the musical execution. Only the on
e can think of interpreting music, interpreting music, performing a piece of mus
ic as it is, from the first to the last note in itself, or by performing music.
Whoever does not, is certainly not called to interpret a piece of music.
Question: [...] The lecture also had an educational approach: It could be so if
...
[p47]
Celibidache: Then pedagogy is to show each individual that what helps to make th
e sound music is to be sought only with him - and nowhere else. Yes, is there su
ch a pedagogy? Although I have seen little results so far, I am trying to make a
difference to each individual - and there is only a potential difference betwee
n him and me in the now relationship; Basically almost none at all - and I tell
that to each individual.
[...]
We have not talked about what is beautiful in music. Music is not beautiful, mus
ic is true. And the highest compliment I've ever heard was from an old lady who
said, "That's it!" Nothing else. I have never heard anything more beautiful. So
that you certainly do not have technical means to reduce this variety, to struct
ure these sounds so that the higher octaves appear, which is quite normal. But,
if you are aware of your consciousness, you will hear it just as I do, that is G
od-given. And most people do it and listen, but they do not know exactly what is
important.
I have been told (excuse, I have to speak immodestly of myself): "With you, the
orchestra sounds different." As a woman told me as a young man in Berlin: "How y
ou make the horns sound, that is unique! "What is so unique about the horn sound
? In this position:
Ex. 34
[p48]
(The decimal length is called), the horn has one of the slowest transitions (onl
y the deep flute is even slower) until the sound comes into vibration. This temp
oral substructure, that is, to bring the two c and g to a perceptible continuity
, is required a third of a second, until all the secondary phenomena are combine
d in the reduction. One third of a second, that is 180 on the metronome!
In the tremendously well-defined violin concerto by Sibelius, Adagio molto is ve
ry slow. No, more than that: Adagio di molto. What is the point?
Ex. 35
If I push the tempo a little bit, that is, not as an act of will, but I do not l
isten to these secondary phenomena, as in the first octave. If it is pushed a bi
t forward, the horns sound like what? After all, just not for horns. When do the
horns sound? When they are caused by intensive listening,
Ex. 36
[p49]
This Quint here, an octave here. Only then is the good sound. This is the term "
di molto". However, if you do not care what's going on, you do not know the spec
Of course, I can not say anything about music. But I can say a lot about what mu
sic can be - sound. What is the essence of music, how shall we go about it? Only
professors who believe music is the - oh, they've got it much easier! ". I ask
you for one, try to understand that the relationship between sound and man is un
ique - so and not otherwise. And if you have experienced it, no matter what leve
l, you will see that there is no other level where it is not. We can still imagi
ne the world of Josquin Desprez today - we can not hear today's sound with his t
onal sound at the time - and so he always has access to his music. Everything in
music is unique, in its origin.
[p52]
There is also no repetition. There is not the Fifth Beethoven, but it arises at
the moment. Not everything that takes place with the same notes or other musical
features is the Fifth Beethoven. But even more dramatic is another realization:
There is no alternative to the Fifth Beethoven! It arises or does not arise. Di
d I make a fifth pretty good? No, it does not exist: bad, worse, approaching ...
When it is created, the end is in you, in the speaker, and in everyone who is i
nvolved, at the same time with the beginning. If this is not the case, then we w
ill have to hold on to endless discussions.
There is no alternative to music and therefore no interpretation.]