While con­ven­tional phi­loso­phy – op­er­at­ing on the mean­ing of spo­ken or writ­ten words – at­tempts in a rather indis­creet man­ner to guide man to­wards truth and even, while still on the way to­wards truth, con­tinu­ally tries hard to ensure that it speaks out truth alone, the clas­si­cal com­poser on the path to com­pre­hen­sive truth is not so much con­cerned with de­tail truth.

If nec­es­sary, he even em­ploys a white lie to take the lis­tener to­wards truth in the end.

To the clas­si­cal mu­sic crea­tor, the steps of knowl­edge are but a means to achieve com­plete con­vey­ance of truth, and he at­taches only as much im­por­tance to them as to an intricate way that leads to a great goal.

While the sci­en­tific sys­tem of phi­loso­phy – like the other sci­ences, too – per­ma­nently tries to prove truth even on the way to­wards it, the clas­si­cal com­poser takes the seek­ing lis­tener by the hand, leads him through ob­scure spaces, de­scribes to him all kinds of imagi­nary shin­ing ob­jects in these spaces, and con­tin­ues this proc­ess un­til the lis­tener dis­cov­ers these seem­ingly outer spaces and the ob­jects de­scribed therein within him­self, un­til his search for truth has thus found ful­fil­ment.

Un­like the sci­en­tific sys­tem of phi­loso­phy and above all, un­like the other sci­ences – par­ticu­larly the natu­ral sci­ences – the true art of tones is not at all con­cerned with outer na­ture which it per­ceives es­sen­tially as a mere re­flec­tion of the in­ner-hu­man na­ture.

There­fore, it sys­tem­ati­cally re­fines the rep­re­sen­ta­tion of the outer as­pect of na­ture – start­ing from ob­jects in the mu­si­cal tone-space – through the sphere of sub­jec­tiv­ity, thus guiding the unaware seeker of truth, the con­scious mu­sic lover, into the world of his own free ful­fil­ment of de­sires – into the world of his hav­ing-reached-the-goal, into the world of his hav­ing-no-longer-to-seek, into the world of his truth, into his world of ful­fil­ment.