With the free play of the quali­ties of the hu­man char­ac­ter in the motif-tech­nique the com­poser intends to pro­mote the free in­ner will of the lis­tener to cul­ti­vate his char­ac­ter. In the uni­ver­sal lan­guage of mu­sic the mu­si­cal crea­tor shows him ways and means to juggle with in­creas­ingly higher and more com­pre­hen­sive, more joyful in­ner-hu­man val­ues.

Thus, to the com­poser, the motif is that origi­nal mu­si­cal ele­ment through which he takes the lis­tener by the hand – on the level of his feel­ing and un­der­stand­ing – and care­fully guides him step-by-step into worlds of greater hu­man hap­pi­ness.

When a motif in its derivations, its de­via­tions, its changes – i.e. in vary­ing dis­guises – in­ter­acts with it­self in the mu­si­cal work and ap­pears with many dif­fer­ent faces, the mu­si­cal crea­tor de­scribes the mani­fold forms in which the hu­man char­ac­ter in its most var­ied shades dances skil­fully and suc­cess­fully through the world of as­pi­ra­tions, nibbling eve­ry­where with­out settling down into bounda­ries.

And al­ways there are guiding and guided motif quali­ties; and the mu­si­cal mo­tifs al­ways move within a sys­tem of dis­tinct hi­er­ar­chic re­la­tions.

And if, in the course of the mu­si­cal event, the guide changes, it only shows how cer­tain quali­ties of the char­ac­ter safely guide oth­ers on their way to per­fec­tion, through their own do­main, through their own fa­mil­iar world of the ful­fil­ment of de­sires – just as a man guides a friend safely through his own world, which is fa­mil­iar to him­self but may be full of dan­ger for the other.