In the mu­si­cal sound-space, time is ex­pres­sed through the rhythm, and space through the to­nal­ity. In clas­si­cal com­po­si­tion, to­nal­ity and rhythm merge so in­ti­mately that one can hardly iden­tify them in­di­vidu­ally.

When, from within, time guides the rhythm from in­fin­ity to in­fin­ity, while space guides the to­nal­ity from un­bound­ed­ness to un­bound­ed­ness, har­mony emerges in its per­fect form.

As men­tioned ear­lier, har­mony un­folds it­self in a two­fold man­ner: in space and in time.
The uni­ver­sal di­ver­sity con­tained in the har­mony ap­pears as the rich­ness of the mu­si­cal event and re­veals it­self in space and time.

The uni­ver­sal­ity of clas­si­cal com­po­si­tion lies hid­den in the in­ter­play of the un­bound­ed­ness of space with the in­fin­ity of time – in their in­te­gra­tion, in that state where space and time are merged with each other, where the outer mu­si­cal form, gov­erned by space and time, is trans­formed be­fore us lis­ten­ers into the in­ner beauty of mu­sic, into the in­fi­nite di­ver­sity at the basis of space and time.

Un­der­stand­ing this fact is the key to the con­scious re­ali­za­tion of the genu­ine mu­si­cal truth, of the re­al­ity of in­fi­nite mul­ti­plic­ity of life in im­mor­tal­ity – be­yond space and time on the level of unity.

Here lies the key to be­com­ing aware of the ab­stract, mani­fold basis of even that mu­sic which sounds in the con­cert halls.