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Contrary to the preconceptions of a large portion of the world of experts, the works of our great classical composers – in so far as they belong to the area of absolute music – are in no way music which is free of human evolution and which might also be conducted for its own sake, rather here we have before us an ideal language with which to emotionally and rationally describe and present the area of life of inner human strengths.

As such, by its nature, this music belongs in the area of philosophy or the art of living – where it then also connects up with religious music.

So the first movement of the classical symphony, its main movement, consists of two themes – a male and a female theme –, which characterise the inner human strengths, feeling and under-standing, and educate the listener, to deal playfully with these human strengths of his.

Whilst universities, schools and official educational establishments devote themselves to the learning of external skills, the great classical composers saw it as their sacred duty to educate people in the use of their inner skills – to introduce man to his inner-human strengths, educate him in the differentiation of his inner human strengths and train him in the balanced and successful use of his inner skills.

“Only the composer who was capable of using them to have an effect on man’s soul, truly penetrated the secrets of harmony.”     E.T.A. Hoffmann

This kind of absolute music, which has humanity as its sole theme, finds its highest expression in the symphony, and here particularly with Haydn, Mozart and Beethoven who, it is known, did not feel themselves primarily under obligation to the music, but to the truth and, as such, saw music as the best means known to them of expressing the truth at a level of feeling and understanding.

And both of these human strengths, feeling, and understanding are, then, the cornerstones of the symphonic creation of our great composers for their musical evolution of humanity. At the same time, within the framework of the symphony, particularly in the sonata movement form, feeling and understanding are presented and activated in diverse ways.

“All music is really inner music and must become inner music again.”         G. Hauptmann

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