The natural creation of music by the classical composer
JOURNALIST: But lets take this opportunity to get back to the
question of compositional studies how do you see future prospects for
this central subject at the academy?
PETER HÜBNER: can only say that the curriculum misses the essential
matter, as it does not really concern the core or nature of musical creation
the musical conscience.
For the few composers who pursue musical creation with the described seriousness,
it is surely a certain achievement when they receive a professorship as financial
support, until, at some point, they are able to make a living off their work
as a freelancer.
But the overwhelming majority of professors of composition doesnt manage
to do anything creative, and is only a financial burden for the country.
And the worst is that these people mislead the public and the students with
regard to the composing profession. The same, however, applies to all the
other artistic music subjects.
In principle, they can get rid of the subject composition at the academy
whereby those few talented composers among the professors should be supported
in their freedom of creating without conditions and being told what
to do.
Anybody getting upset now, belongs to those who are incapable.
JOURNALIST: I have read your books Naturally Creating Music
and Naturally Listening To Music.
In your opinion, what is the significance of these books, and perhaps beyond
that, of an unconventional study course of music which you describe in your
study catalogue of music.
PETER HÜBNER: I have contemplated for a very long time, how it
could be possible for me to familiarise other people with classical music
by means of the spoken word. When I went to a library and had a look at a
book on this music, then it was either an opera or concert guide, or a very
limited book on musical theory, or biographies about famous composers.
But I never found a book which spoke about the things I thought music enthusiasts
should know about.
In my opinion, in existing music literature, people have always beat about
the bush on the subject of classical music in an ice-cold way, and they still
do. Particularly music critics distinguished and/or distinguish themselves
in general by describing their own sort of emotional rubbish and never get
round to talking about the actual music.
That is why, for a long time, the music enthusiast was not at all informed
about what classical music is and how it originates in the tone creators
consciousness, before being made audible by some interpreters at a much later
point in time.
The absurdity of this situation is demonstrated by the fact that it is normal
and obligatory in todays compositional lessons to play the piano.
Music experts are totally convinced that a composer ideally experiments by
playing his music to himself on the piano and then, from outwardly listening
to it, decides to write down the part he has played to then instrument it
somewhere else for the chorus and soloists.
I once witnessed, how someone from a small Rohne village had a letter read
out loud to him which he had received from home, as he could not read himself.
He put his hands over the ears of the person who was reading to him, so that
he couldnt hear what was in the letter and what he was reading to him.
As he had not learned to read himself he naturally thought the person reading
had to read the letter out loud and listen carefully to understand the contents.
All of us who can read, laugh about this, but the same lack of understanding
applies to the entire musical world of experts which believes that the classical
tone creator needs to play the piece he is composing on the piano first and
listen to it, in order to be able to write it down. And the curriculum in
the subject composition at the academy with the piano as an obligatory subject
only demonstrates this inner musical ignorance.
And at night, full of mediumistic pride at the end of T.V. broadcasting, we
keep seeing the picture of a piano or harpsichord in a little narrow room,
with those words of musical ignorance: On this instrument Haydn created
the song of the Germans.
That phenomenon of inner musical hearing completely detached from the
instrument is described in my book Natural Music Hearing.
And that critical description of authentic music creation like I have such
mentioned, has been very profoundly presented in my book Natural Music
Creation.
Only on the basis of this practical insight into the field of classical tone
creating as well as the creative listening to music lies the sense in reshaping
the study of music.
Someone opening my study catalogue on a future music faculty without knowing
these two books, is faced with hieroglyphics. The person who has studied them
very carefully, however, whereby it does not matter at all whether
this person is a music expert or not - is able to decipher the curriculum
and appraise the sense of this education.
These books on music should shake the music experts, and people not being
shaken by their contents are either asleep or musically already dead.
And I am telling you this with all due modesty, as I am only describing here
what is natural, and how our great classical music creators worked.
© A A R E D I T I O N I N T E R N A T I O N A L 2001
Site Map |
Editorial |
R & D |
Music Education |
Archetypal Career of the Classical Composer |
The
natural Creation |
Music |
Peter Hübner |
International Experts |
International Media |
Asian Media |
Main Links |
STORE |