Everything Is Possible
After the serialistic movement in the 50s of the last century, and especially after the work of John Cage, everybody knows that it makes no sense to invent new system of connected such pitches and tones.1 Everything is possible. You can even write a symphony in C major now. Okay? Then you will be the guy who wrote the symphony in C major. It’s not forbidden anymore, but it does not mean anything. And so, perhaps, what we have to rethink now is our basic fundament of all of our music, and this is this concept of tone, and perhaps we can go a little bit farther.
If we see — if we can find our concepts, then this concept of connected elements, as in our title it is said, composition, to put things together, perhaps, but we do not know anymore what these things are. These can be noises or some other things, or perhaps there’s no connection at all, but only sound. Yeah, that’s a different concept.
And so, for me, this going back to the beginning of Western European music, it was a little bit like this very important moment in the 19th century when Mendelssohn rediscovered the music of Bach.2 This changed everything. And from this moment, music history looks back to history and looks forward to future in the same moment.
And so, they started with Bach. Then, they go back to the Baroque composers, then to the renaissance composers, then to the medieval composers. And now, we are back too at the point of beginning of western music, and have to refine — rethink our tradition from the very beginning, also in comparison to other musical traditions as Arabic music or this Southeast European music.
So, other music, I have not enough knowledge about music of India, or Japan, or China.3 I’m not able to read the texts in original language. And so, it’s — I learned from my reading of Greek and Latin and other texts, that’s important to be able to read the original text, because otherwise you depend so much from people who made the translation that you cannot understand it real — what’s said about.