In his book, Natural Music Creation, the classical composer Peter Hübner writes that the composer experiences the music in his inner being as a dynamic spatial-temporal process of development: The musical elements – the sounds, the motifs, the melodies and the sequences – unfold both temporally and, in accordance with the laws of musical logic, spatially – and this is testified too by the statements of our great classical composers.
The conventional performance style with its sounding “orchestra-apparatus” fixed in space has not so far done justice to this truth of the spatial-temporal development of the music in the consciousness of the composer. The reason for this failure is due to the fact that the conventional performance practice has hitherto restricted itself to presenting in the acoustical realm – in regard to the spatial-temporal development – merely the seating arrangement of the orchestra: a fact, which is not even designated in the score, since it does not attach any musical significance worth mentioning to the classical composer.

Thus, it is not even surprising when confined to the conventional static performance style the conductor and the musician eventually reach for new inappropriate means of communicating the musical content, as, for example, the mimicking display of feelings through gesticulation or the optical display of musical instruments.

Nevertheless, these sorts of optical manipulations do not prove to be intrinsically musical or adequate means to introduce the deep meaningfulness of the music to the hearer, who is constrained to assume the roll of an onlooker by these optical manoeuvres.

A real attempt to do justice to the personal musical evidence can only be to bring the music to performance in an authentic way. It is the musical statement that must be revealed to the hearer with musical-technical means, pure and unadulterated – and not the seating arrangement for the musicians, or even the mimicking and gesticulating of the conductor.
The latter is actually a modern phenomenon – and not only in word but also in the actual operations of his Festival Performance Hall in Bayreuth Richard Wagner for instance let this whole gesticulating apparatus disappear from the sight of the visitor in favour of the most unadulterated musical expression possible.

The Dynamic Space-Stereophony represents a fully new musical and technical system, both for recording and performance. By the help of the Dynamic Space-Stereophony the music is performed directly in the outer acoustical space in the very same way as it unfolds according to musical laws spatially in the consciousness of the classical composer – thus making this spatial unfoldment of the music clearly perceptible for every listener.

If in comparison with visual representations the acoustical worth of the conventional style of performance corresponds to a fixed picture, whose single components are illuminated in succession but are nevertheless motionlessly fixed, than the Dynamic Space Stereophonycorresponds in its multi-channel end version to the system of the controlled moving holography.

Today the development of the Dynamic Space-Stereophony provides us for the first time in the known history of music with the possibility to project music audible for everyone into the outer acoustic space in its original purity and, according to musical logic, in a dynamic musical spatial-temporal development.

According to the present state of knowledge, this recording and performance technique of Dynamic Space-Stereophony represents the technical perfection of musical “interpretation.” What more would the music interpreter desire to perform than that which develops audibly and dynamically in the composer’s realm of musical imagination?

And how differently would the interpreter like to represent it than as it dynamically developed?

The function of this special music hall is to bring to performance the works of the classical composer Peter Hübner in Dynamic Space-Stereophony, and in so doing, to reveal a new electrifying musical experience to the listener of our modern age.

© A A R   E D I T I O N   I N T E R N A T I O N A L   2000