In his mu­si­cal work the com­poser pur­sues a clearly de­fined in­ten­tion: step by step he wants to make his lis­tener fa­mil­iar with the lib­er­at­ing world of self-aware­ness, and he achieves it by di­rect­ing the mu­si­cal flow in such a way that – start­ing from the mu­si­cal sound-space – his lis­tener is taken in steps through the motif and se­quence-spaces into the in­fi­nite space of the har­mony.

As the lis­tener reaches this unlim­ited mu­si­cal space of the har­mony, he ar­rives si­mul­ta­ne­ously at him­self and lo­cates the dy­namic mu­si­cal full­ness of his own self-aware­ness.

So, the pur­pose of the clas­si­cal mu­si­cal work lies in glo­ri­fy­ing self-aware­ness – the natu­ral crea­tive realm of the com­poser; and the intent of the mu­si­cal crea­tor lies in in­tro­duc­ing the lis­tener to the ex­peri­ence of pure self-aware­ness. To achieve this he em­ploys the means of mu­sic.

Un­per­turbed the mu­si­cal crea­tor pur­sues this goal.
He guides the lis­tener through the beauty of the world and brings him closer to that har­mony by which the world is or­gan­ized from its ori­gin.

This in­ten­tion is quite un­der­stand­able – par­ticu­larly at a time when, as a re­sult of hu­man misbe­hav­iour, the en­vi­ron­ment ap­pears hos­tile here and there, and the re­al­ity of life, origi­nally har­mo­ni­ously de­signed, ap­pears dis­torted to those who do not un­der­stand the rea­sona­bly or­gan­ized re­la­tion­ship be­tween cause and ef­fect.

Owing to this dis­torted pic­ture of na­ture, which ac­tu­ally func­tions fully in sup­port of life, man quarrels with his fate.
And ei­ther he stands against na­ture, or he thinks he should and could outwit this al­mighty force by means of tech­ni­cal de­vices – so-called “achieve­ments.”

The clas­si­cal com­poser edu­cates the mu­sic lis­tener as to the sense­lessness of such il­lu­sion – on which, af­ter all, the en­tire tech­ni­cal civi­li­za­tion with all its hu­man in­com­pe­tence is based – and shows him prac­ti­cal means and pass­able ways of plac­ing him­self and his ac­tion into har­mony with na­ture al­mighty.

Mu­si­cally-tech­ni­cally, this edu­ca­tional proc­ess starts from the un­fold­ment of the motif, con­tin­ues into the se­quence-space, and finds its con­clu­sion in the space of the har­mony.
On the level of the har­mony the lis­tener is permeated by the val­ues of the ab­so­lu­te sound-sub­stance, and he ex­peri­ences his per­sonal life to­tally in tune with the om­nipo­tent laws of na­ture; in­deed, he even real­izes that in his crea­tive act – which re­sults logi­cally from the mu­si­cal proc­ess of cog­ni­tion – he is the le­giti­mate ruler over na­ture.

And from this new stand­point within his self-knowl­edge, he even re­gards na­ture as his in­ti­mate com­pan­ion on his way, who is very natu­rally in­clined to­wards his de­sires and ful­fils them.