But also when a tone iden­ti­fies with a motif, or a motif with a se­quence, the feel­ing of the space-time fusion domi­nates our mu­si­cal aware­ness, and we ex­peri­ence a genu­ine men­tal-spiri­tual enliv­en­ment.

These are mu­si­cal-com­po­si­tional phase tran­si­tions, by which a state of sus­pen­sion is gen­er­ated in the world of feel­ing, in the world of un­der­stand­ing, and be­tween the worlds of feel­ing and un­der­stand­ing. Here, op­pos­ing forces cancel each other out; here, the mean­ing of “op­pos­ing” is sus­pended; here, the mani­fold pairs of op­po­sites cre­ate an image of mul­ti­plic­ity on the level of unity; here, on the level of our feel­ing and un­der­stand­ing, we ex­peri­ence com­plete si­lence again and again. Re-emerg­ing from this deep si­lence we are permeated by the life-giv­ing source of com­plete mu­si­cal-crea­tive ful­fil­ment.

In mu­sic, time is the great part­ner of space.
Time and space are so in­ti­mately con­nected with each other that they al­ways appear to­gether.
In the clas­si­cal com­po­si­tion the unity of time and space li­ves as the play­ful to­getherness of two na­tures made for each other, who to­gether gov­ern in­fin­ity with great com­pe­tence.