PETER HÜBNER: As mediocrity does not know this simple truth or ignores it, it is a part of the national establishment of institutions, which seize the field of art through institutional governmental power, establish their mediocre standards there, and then professionally prevent the exceptional in art, and/or the artist designated in art by nature, out of their own limited firm conviction.

For this reason, it seems to me to be sensible in the interest of music to close down all state-owned musical institutions, or to open them up to the regular market – where only the efficient survive without any governmental regulations.

And all that mediocrity which, with the help of public financial means, has so far taken the liberty to publicly set the tone as a kind of dictatorship of mediocrity, can fall back into artistic insignificance, from where it crawled up into public musical life through governmental influence and political connections.

Public supportive measures under governmental management are certainly a sensible decision where mentally and physically disabled people are concerned – but regarding the talent of the musically gifted person they are downright subversive.

How much arrogance underlies the system, where the mediocre talent claims to want or to be able to support the more than averagely gifted?

National institutions and the people employed there, who claim to support the musically gifted, can at best make mediocre talents dependent under the pretence of dubious appreciation.

This is also the case for the committees and boards at music competitions.

They all produce only the ideal of their own mediocrity – even if they now and again include a recognised artist for a good fee as an alibi.

All these institutions paid by public authorities and dependent on them are damaging to natural musical life, because they prevent the flow of natural creativity in musical life.

They only serve the purpose of satisfying the ambition as well as filling the purse of blind music experts, who don’t know the first thing about the artist’s superior inspiration, about nature’s power and the Creator’s work.

These dignitaries of present-day German musical life are the arrogant atheists in musical life.