Thanks to the invention of modern sound storage media, I am in the lucky situation to be able to make music that manages to sound naturally inside me, without any materialistic shackles, and therefore my music needn’t in the least direct itself towards some sort of profitable fashions.

The music sounding inside me, on the other hand, meets the requirements of our time.

When I see, how my fellow citizens are instructed in the most various ways to engage their emotional and intellectual powers towards the destruction of their inner and outer nature, then, as an answer to this threatening situation, I compose very “consciously” – in contrast to “meant“– music which, in its structure, is totally committed to natural harmonising.

The modern Classical Composer

Peter Hübner

The modern Classical Composer

And when I learn, how vital energy is increasingly suffocated in my fellow citizens, I compose music with the goal to re-activate this vitality.

What is continuously being drummed into people’s heads in our society: the weapon is more and more the dominating factor, problems are nearly always solved by violence – we experience that in particular in a musical-structural sense in today’s music, and from that starting-point we see it on TV, and logically more and more often in the streets in our daily lives.
And when I see this, I compose music in a natural way which shows to an extent not yet known, that there are countless ways of linking opposites harmoniously.

This music then creates this natural order in the listener, by activating the most diverse levels of life in him, linking them together in harmonious communication.

The person who hears this music, with its help, gets to know a thousand and one ways in his inner being to unite opposites in a natural way, and not to simply get rid of an opposite with violence – as today’s music, and today’s TV, and today’s politics, and today’s economic life too often want to teach him.

And he learns that such natural integrating dealings with opposites are much more fulfilling to him than to simply eliminate opposites, as is done in crime stories.

Such music that is directed towards natural harmony is uncompromisingly aimed at a purpose, and doesn’t really fit in to the pattern of aesthetic and empty borders of some critics.

There is no space for illusory aesthetics and hypocritical love of acrobatic ramifications of this and that tone nuance with the natural seriousness of this request.

That is why the critics are puzzled about my music. When I give my work titles such as “Activating Vitality” or “Harmonising Human Thinking, Understanding and Feeling”, then it is because I know for sure what naturally regulating influence this music has on the listener’s inner human powers, because, by harmonising these powers and levels of life, nature rewards me inside during the musical revelation as clearly as i.e. with the taste of sweet fruit.
I therefore know from my own experience, where vital energy is at home in a human being, and nature guides me in the use of musical means to activate it

Which of the critics, however, who suddenly has the task to assess my work, has consciously become aware of his vital energy and localised it, or knows from personal experience which natural musical laws are obeyed by man’s feeling, mind and thinking?

How should he now assess nature’s music?

And as I am fortunate enough not to have to be liked in my work by the critics, I make just that sort of music that nature inspires me with to strengthen the naturalness in the life of the individual and the community,
and I don’t take any consideration of this hypocritical “intoxication of art” let off by several of the classical experts.

For this, the electronic means for the outward realisation of that which I have heard inside are a true blessing, as they allow me, to a large extent, an authentic performance of what I have heard inside. Thus, in many respects, I find exterior circumstances, which my models unfortunately didn’t have in their times – above all, the creative freedom, financial independency, the democratic routine, and the modern digital instruments for my own authentic interpretation.



©   A A R   E D I T I O N   I N T E R N A T I O N A L   2001


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