The true com­poser does not need to play his mu­sic on an in­stru­ment to know what it it will sound like. Does some­one writ­ing a let­ter need to read the text aloud, to know only then, from his outer lis­ten­ing, what it con­tains?

For the true com­poser only one prac­ti­cal ques­tion arises: ‘How can I make au­di­ble to oth­ers what I have heard within?’ And only then, with this ques­tion, his outer craft of com­pos­ing be­gins: choos­ing the ap­pro­pri­ate in­stru­men­ta­tion, and the no­ta­tion of his mu­si­cal ideas in sym­bols which the mu­si­cian un­der­stands and mas­ters.

As he writes down the score, the com­poser has to cope with out­ward means of de­scrip­tion which are quite in­ac­cu­rate com­pared to what he has heard within. Also, he en­coun­ters a fun­da­men­tal re­stric­tion in the men­tal-spiri­tual limi­ta­tions of in­suf­fi­ciently trained in­ter­pret­ers who lack an in­nerhu­man mu­si­cal edu­ca­tion, a lack which, in the course of the last cen­tu­ries, has re­sulted in the side-by-side play­ing of to­day’s or­ches­tras.

This syn­chro­nized side-by-side play­ing is in bla­tant con­trast to the to­getherness of the mu­si­cal ideas which the com­poser ex­peri­ences within him­self.

There­fore, the com­poser of to­day looks for safe and, if nec­es­sary, com­pletely uncon­ven­tional new means for the outer re­ali­za­tion of his in­nermu­si­cal ex­peri­ence.

Our time in par­ticu­lar of­fers the mu­si­cal crea­tor pos­si­bili­ties un­heard of be­fore. Ad­vance­ments in the field of tech­nol­ogy are so great that, for the first time in known mu­sic his­tory, the clas­si­cal com­poser finds at his dis­posal, like a golden magic key, an al­most unlim­ited reservoir of re­sources for the au­then­tic, outer re­ali­za­tion of his in­ner mu­si­cal crea­tions.

The po­ten­tial of to­day’s com­puter tech­nol­ogy – par­ticu­larly in the area of ana­logue and digi­tal mu­sic re­cording and proc­ess­ing – is suited to over­come all pre­vailing limi­ta­tions of in­ter­pre­ta­tion in fa­vour of a purely mu­si­cal re­ali­za­tion. With the help of Dy­namic Space Stereo­phony, the mu­si­cal crea­tor to­day is able to re­pro­duce his in­ter­nally heard com­po­si­tion in the acous­tic space in a hith­erto un­ex­pected, three-di­men­sional form. And he is able to struc­ture the mu­si­cal sound-space so per­fectly that the com­poser’s im­me­di­ate in­ner im­pres­sion of the origi­nal crea­tive proc­ess is rec­re­ated within the lis­tener’s enli­vened aware­ness.

Thus, for the great com­poser, an old dream has be­come a re­al­ity to­day for the great mu­si­cal poet. The world of in­ner un­bound­ed­ness, as ex­peri­enced by the com­poser dur­ing his crea­tive proc­ess, now is also open to the means of outer mu­si­cal per­form­ance.

When the com­poser writes down the mu­si­cal ideas, which are un­fold­ing within him, from what he hears inside, his de­sire is to in­spire the lis­tener to greater per­sonal free­dom.