JOURNALIST: Herr Huebner,
you are called the most successful classical composer of our times. There
are 250 CDs with your music, and new ones are always added. Your repertoire
ranges from absolute harmonical music to avant-garde music with a lot of dissonance.
How do you see your success?
PETER HUEBNER: For me my success lies only in the fact that I was given
more musical ideas by nature than I can realise externally. And I hope that
the possibilities of realising these ideas that are at my disposal will continue
to improve.
Peter Huebner
The fact that I am supposed to
be the most successful classical composer of our time, doesn’t say much
– because, as far as I know, I am the only one.
JOURNALIST: How am I to understand “the only one”?
PETER HUEBNER: Our great classical tone creators tried to gain an increasing
insight into the laws of harmony of the microcosm of music – i.e. they
were logically consistent in making the laws of harmony of creation the musicological
foundation of their practical work.
Musical experts have not yet recognised that. The music critic thinks –
embedded in his own narrow lack of musical understanding – that the great
classical tone creators only composed just for fun, just as he would like
to if he could.
But in reality it is different: what makes the great classical tone creators
so different from all their insignificant colleagues, is their
personal intuitive insight into the laws of harmony of the microcosm of music
– a science which we could indeed call a “secret science”,
because only few in our musical history have managed to gain this personal
insight, and these are the greatest and they are called the greatest. And
the systematic development of this personal insight is recorded in compositional
development as our musical history.
After Richard Wagner this process stopped for the time-being, because the
intuitive insight into the laws of harmony of the microcosm of music had been
personally lost among the tone creators, and the whole guild of those, compared
to the classical role models untalented composers, only saved themselves with
some seemingly new experiments – until this very day.
But after Richard Wagner, that harmonical research and development process
had only been interrupted and not at all finalised. And that’s why –
as far
as I know – I am the only composer who still continues in the steps of
the great classical tone creators.
From this point of view, the time of the avant-garde, 12-tone music and serial
music is an episode which dominated just for half a century – similar
to the reactor accident in Tschernobyl.