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The revolutionary musical Path from dissonant social Criticism to musical Harmony with the Laws of Nature


Peter Hübner
Curse or blessing: yes

Page of the score
from the opera


JOURNALIST: In your work for the stage “Curse or blessing: yes” you present the fundamental stages of these developments on stage as the manifestations of Kchatom’s inner ideas and contemplations. And in the end, he finds himself – awakening from his dreamy thoughts – in today’s Christian times, as the eternal “degenerated” revolutionary.
And hardly has he publicly spoken about his visions of the unethical situation in the world, when he is excluded from church by the Christian institution.

PETER HÜBNER: In our present times, the church cannot simply kill an independently thinking person or chase him away, today it can only denigrate such a person in public, and only run away from him into the shelter of its ecclesiastical buildings and fenced off land holdings.

  Avant Garde Music                                            continued 19

JOURNALIST: The church’s offering to Kchatom to devoutly join the parish, go to church, and to suffocate his free thoughts in the routine of religious celebrations, are rejected by him.

PETER HÜBNER: Yes, he has become aware of and has experienced too many things to be able to turn back.

And so he once again thinks over all his previous experiences right from the beginning – in this case, everything he has experienced on stage as a member of the audience, but what in reality has developed out of his mind’s eye in his own imagination: the creation of the world through the word and the devil’s hand, as well as the observance of his laws through the ambitious leaders of society during the different times, and the application of his laws for the education of new generations: the consistent guide of the entire world to the process of self-destruction, to individual, social and ecological crises which lead plants, animals and humans alike to the edge of an existential abyss.

During the new re-capitulation of this whole idea of the world, two great scenes in his life crystallise out of Kchatom’s mind’s eye.

He recognises himself in the role of Sysiphus as he, again and again with the greatest effort, heaves himself up the enormous colossus of his endeavour, the high mountain of evolution, and how all troubles slip from his hands, as he ages, dies and resigns, before he reaches the peak of his human striving – and this again and again.

And he sees himself in the role of Diogenes, as he – beyond all such fruitless efforts – sits in his cave at the foot of the mountain of his evolution which he cannot climb by his own efforts, and does not care at all about these Sysiphus endeavours.