From the ex­is­tence of eve­ry one of us we natu­rally deduce that there is a mother who has given birth to us. When­ever we see an in­di­vid­ual we know he has a mother, even though we may not see her.
This in­sight is the ex­pres­sion of a natu­ral prin­ci­ple, and we deal with it very natu­rally.

The same ap­plies to the se­quence. When the world of mu­si­cal mo­tifs is ex­plored, one can deduce the ex­is­tence of the se­quence, this mother of the mo­tifs, even if it is not read­ily visi­ble.

In the same way as moth­er­hood can truly be iden­ti­fied only by the child and the mother them­selves, the moth­er­hood of the se­quence can only be iden­ti­fied by the motif and the se­quence. The lis­tener will only rec­og­nize this mother-child re­la­tion­ship of se­quence and motif if, on the level of feel­ing, he suc­ceeds in com­pletely tuning in or con­cen­trat­ing on the motif or the se­quence re­spec­tively, or on both.

Then he will rec­og­nize the mother – the se­quence – through the eyes of the motif. He will rec­og­nize the se­quence by iden­tifying the main force which pro­motes, pro­tects, and guides the motif on its jour­ney through the melody.

An outer way for in­tel­lec­tu­ally rec­og­niz­ing the se­quence by means of the un­der­stand­ing does not exist.

Fur­ther we may infer: to per­ceive the har­mony from the point of view of the se­quence means the di­rect knowl­edge of the prin­ci­ple of fa­therhood from the point of view of the mother; and to per­ceive the har­mony from the point of view of the motif would mean the knowl­edge of the es­sence of fa­therhood, from the point of view of the child.

Only some­one who suc­cess­fully went these paths of knowl­edge can reach a point where he sees through the eyes of the fa­ther and ex­peri­ences the feel­ing of life-cre­at­ing fa­therhood in a ho­lis­tic sense, how through the eyes of the fa­ther the mother and the child are enli­vened, sus­tained, and guided out into the enli­vened world, and lead back again into the world of life it­self.

The se­quence also hands the mo­tifs over to the care of an­other se­quence so that the chil­dren of the com­po­si­tion may con­tinue to un­fold in the next world.

Here, the se­quence seems to change its ap­pear­ance, yet in its es­sence it re­mains ever the same: the femi­nine em­bodi­ment of har­mony.

The mo­tifs see the new face of the se­quence from their own, in­di­vid­ual point of view, and by this fresh sight they are in­spired to mani­fold new ac­tiv­ity in their new world.

When­ever their in­di­vid­ual ac­tivi­ties move to much apart to­wards dis­har­mony and thereby tend to dis­in­te­grate, and when the world of the se­quence, in which the mo­tifs are now mov­ing about, has lost its natu­ral at­trac­tion and also its in­te­grat­ing ef­fect (oth­er­wise the mo­tifs would not pre­domi­nantely strive apart and tend to­wards dis­har­mony), then through the power of har­mony the se­quence radi­ates a strong in­flu­ence to­wards the mo­tifs.

Through this in­creased radi­ance the se­quence at­tracts its “chil­dren,” the mo­tifs, back to it­self and guides them to the fol­low­ing new world – to the new se­quence: to it­self – in its re­ju­ve­nated ap­pear­ance.

This in­sight, too, only con­firms the un­der­stand­ing that clas­si­cal com­po­si­tion in es­sence is not at all of s

pecifically mu­si­cal na­ture. Reach­ing from the deep, in­ner si­lence to the outer sound-spaces, it sim­ply rep­re­sents hu­man life as we know it.

The world of the har­mony is hap­pi­ness rest­ing within it­self; all-unit­ing love is the es­sence of the se­quence. The life-force hid­den in the har­mony is the enli­ven­ing na­ture in the mo­tifs which per­me­ates the world of mu­sic in a mani­fold crea­tive and all-re­ju­ve­nat­ing man­ner.

The motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique reside in the world of har­mony in the form of ab­stract prin­ci­ples, and sus­tain those laws ac­cord­ing to which the har­mony ex­pres­ses it­self, reach­ing to the world of sound.

In this con­text, the motif-tech­nique, the se­quence-tech­nique, and the har­mony-tech­nique are the in­te­grat­ing ele­ments, the cus­to­di­ans of law: the con­necting links of mu­sic.

Their dif­fer­ent po­ten­tials of or­ga­niz­ing power brings about the iride­scent, col­our­ful splen­dour of the mo­tifs, melo­dies and se­quences; and from their pro­found in­te­gra­tion they gen­er­ate the pure form of beauty in mu­sic.