And then there is one who transcends all the material facts, and I think this is the aim of any artistical activity. Freedom,
transending the material... the essence if you go away from all the habits and thinking and tradition and memory and then look
at the primitive, direct, spontaneous act of creation, it is creation only if you could put all the rest away. Which means
when you start the symphony now, if you got that far, you mustn't have any idea what it is all about; you should let it work with you
the way it would; let it happen...
To him, time is different than it is to other composers. To a normal man, time is what comes after the beginning. To Bruckner, time is what comes after the end. All his apotheotical finals, the hope for another world, the hope... of being saved... of being again, baptised in light... It exists nowhere else.
I am happy to be able today to read the lines he left us. Happier than I could express! Since I think there's nothing worse than the imitation of oneself, product of routine, I create the spontaneous relation to the piece by reading a Bruckner score, that I know by heart! That I could rewrite from memory! So I read it as if I've never seen it before and tell myself: "The horns now, why the horns?" I react like a child, and I often succeed in eliminating this experience-induced stratification, and I often succeed in creating a spontaneous relation to this great unknown man.