The art of mas­tering space and the art of si­mul­ta­ne­ously mas­tering time is founded in the genu­ine friend­ship of the mu­si­cian with space and time. Through pure self-aware­ness the mu­si­cal idea origi­nates on the level of in­fi­nitely con­densed and rhyth­mi­cally or­gan­ized di­ver­sity, and as it natu­rally un­folds, it brings to light the life-sup­port­ing in­flu­ence of the lively, in­ner or­der of the art­ist him­self

If the mu­si­cian makes space and time his friends, he can pre­sent their coex­is­tence in a per­fectly uni­fied form, a form of two­fold in­fin­ity.

This way of truth­fully and re­al­is­ti­cally de­scrib­ing the natu­ral and per­fect re­la­tion of his two great friends, space and time, fills the mu­si­cian with love, and gives him the in­ner strength to work un­tir­ingly to bring light to the ar­eas of even the great­est dark­ness by joy­fully sing­ing the song of his own dis­cov­ered, in­ner­most es­sence – the in­ner­most es­sence of eve­ry man.

Here, too, genu­ine crafts­man­ship is not based on the field of mu­sic, but on uni­ver­sal hu­man­ity.

Only the very per­sonal friend­ship of the mu­si­cian with the uni­ver­sal forces of space and time en­ables him to exert his crea­tive life-giv­ing power in his sur­round­ings.

All other tech­ni­cal skills, the play­ing skill of the in­stru­men­talist, the method of rhyth­mi­cal varia­tion, and the tech­ni­cal con­trol of the over­tone spec­trum are based solely on this great im­per­ish­able friend­ship with the pow­ers of in­fin­ity. If the mu­si­cian does not se­cure him­self this neccessary friend­ship, these two sov­er­eigns drive him into the world of limi­ta­tions like an enemy, into the world of men­tal-spiri­tual nar­row­ness, into the world of prob­lems, and he drags us lis­ten­ers with him­self.

That com­poser or mu­si­cian, who at­tempts to play space and time off against each other through spec­tral pe­rio­dic­ity, and to de­stroy their innate con­nec­tion, is like a fool fight­ing these two great pow­ers of na­ture.

The natu­ral basis of any mean­ing­ful mu­si­cal ac­tiv­ity lies al­ways in the in­ner friend­ship of the mu­si­cian with these mighty, in­ti­mately re­lated pow­ers of space and time, and the suc­cess of the mu­si­cian lies in truth­fully pre­sent­ing this im­mor­tal re­la­tion­ship.

If the mu­si­cian suc­ceeds in win­ning the two great pow­ers of space and time for his in­ti­mate friends – by re­al­iz­ing the full value of their al­li­ance on the level of his own per­son­al­ity –, he be­comes im­mor­tal him­self and in­spires us lis­ten­ers to im­mor­tal­ity. Then space and time are his two mighty pa­trons in the glo­ri­fi­ca­tion of the high ideal of true hu­man free­dom.

The friend­ship with space is es­tab­lished through the un­der­stand­ing, and the friend­ship with time is es­tab­lished through the feel­ing.

In clas­si­cal com­po­si­tion space and time are inimately re­lated like great friends.

And thus, dur­ing the ex­peri­ence of clas­si­cal mu­sic, time-aware­ness on the level of the feel­ing be­comes space-aware­ness; and space-aware­ness on the level of the un­der­stand­ing be­comes time-aware­ness;
and fi­nally, space and time are known as unity – as the ho­lis­tic per­fect be­ing, which with his mi­racu­lous arms, space and time, of­fers us lis­ten­ers the im­mor­tal­ity-giv­ing nectar of life.