„Classical Music” comes into being from focused silentness Since I startet to deal with „Classical Music“, this is in the middle of my musical life. It shaped me and I’m still fascinated from its variety, from the developments as a reaction to social and political changements and the unlimited possibilities to interprete this music connected to a current point of view at every time. I’m fascinated from the huge profundity of this music, developed for centuries in a permanent exchange between composers looking for new musical ideas, and musicologists who are structuring and evaluating these ideas, and this exchange will go on also in the future. From numerous discussions and my own thoughts I created some theses which I want to put up for discussion: The term of “Classical Music” is ambiguous. For me it means in written form fixed music, based on the knowledge of yet existing music and their theoretical background, including new ideas created in a rational process of composing, sorted out in clear formal structures and build in a way which gives space for players and an audience to find an emotional approach to it. The Approach to this music needs not only for composers and players but also for an audience the readiness to deal emotionally and rationally with the music and there backgrounds. “Classical” music does not mean “better” music, it only needs another way of access: it needs a focused attention based on the redemption of the individual ego. This is a dimension which leads out from everyday life and which is able to produce a huge internal force to everybody who is involved. “Classical Music” comes into being from focused silentness and ends with focused silentness until applause close the focus. “Classical Music” has been music for a minority in the past which also will not change in the future. In a democratic society based on the will of majority this music needs a very special support by musicians, the audience, economy and politics.  
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