a new vision of Art

Light – Link – Music

The 28th of may, 2019: Mother’s exceptional concert at the Algiers Opera House

“Music invites us to become more profound in life,

not to stay at the surface of things

but to take a look on a deeper level”



The name “Light-link music”


Light-link music  is the name of a new musical trend which has a profound change in view concerning music.

The present situation has, in a natural way, contributed to the fact that the necessity of such a change was felt more and more. Because the world of music showed such an impoverishment at the transition to the 21st century,  continuation of this course offered little hope for the future.

Within the classical as well as the light music an impasse is clearly perceptible, with some exceptions, which, however, have no elements of “music of the future”. This brings us to the following questions: what, then, is music of the future, what are the characteristics of such music and what is its relation to the present impasse, what is its origin?

To be able to answer these questions in relation to future trends, it is necessary to have a closer look at the past in the first place, as any form of future is rooted in the past. And when we analyse all that had gone before, we can say that the history of music has followed its natural course. That is to say, the natural, intuitively living man has developed into a social and cultural developed human being, with the emphasis on the development of the intellectual capacity.

Development of mankind and of the human intellect are, in this way, to be regarded as synonymous; in a cultural way the majority of the people has evolved from an illiterate state, an evolution with an emphasis on consistent, scientific thinking and theoretical knowledge. The world of music has followed this cultural development in the same way. That is to say, the musical development of the simple melody for one voice via the utmost complex polyphony, has resulted in the intellectually structured (instrumental) harmony, and has, within this last framework, got into an impasse. The breaking through this harmonic structure, in search of progress/improvement and new ways  (with)in music, has so far yielded little or no fundamental changes.

The result of this search was a (dis-) order (without a structure), with a tendency to disharmony, which, at its best, can be called original, but which one can hardly consider a serious solution.

When we go still further into this development, we can see that the original, intuïtive compositions of folk-music, via the inspired, more complex music of the late middle ages and the classical composers, has resulted in the intellectual search of the composers of the 19th and 20th century, until (the) present time. Taking into account that the inspiration is perhaps still at the cradle of the most appealing modern compositions, this inspired part yet has got the worst of it with regard to the intellectual originality.

Why has modern intellect pushed the (higher) inspiration into the background, and why can’t that same intellect come to equivalent musical achievements as the -historic- older composers did?

The problem is that it will force modern man to accept that there is a force or intelligence which rises above the human thinking, and which we can call cosmic intelligence or God.
Modern man, with his strong identification with his personel, human intellectual capacity as a result of the natural developments of the last 200 years, finds it very difficult to recognize this power or intelligence above himself, and in this way he puts himself on the throne  of God, however without possessing a same power or intelligence. Many (world-) problems are the result (of this), coming from the simple fact that modern man confuses his personal mental achievements with an intelligence which exceeds him, and which therefore cannot reach him anymore.

The inspiration which the older composers still received in a natural way, as a grace/gift of God, has been replaced in modern man by original intellect, but in doing so something essential has been lost in music.  To find this back we shall have to acknowledge the existence of this cosmic intelligence openly again, and re-find the way to get into contact with this intelligence in such a way that we can bring into the world harmonic and  aesthetical compositions again.

It’s an individual and collective process of enlarging consciousness and musical (inner) development.

Light-link music has this progress in view, to procure the world of music a new consciousness with a view of the future.




A new music? What for?


A new music, how should we conceive of it? We can call the present scale of sounds multi coloured, so many visions and trends are to be found in the musical world at this moment, from the most harmonious expressions to the most disharmonious. And  the last ones have been expressed the most clearly for the past 100 years, e.g.  the attitude or relation to what we could call the disharmonious sound has been changed completely within the past century. What does this mean? It means that the older composers and artists had, as to music, a totally different ( inner) attitude towards what we could call the disharmonious principle whithin music than present day musicians.


Where does this difference come from? The difference lies in the fact that until about 100 years ago the musician, the composer, consciously or unconsciously had an inner relation with certain ‘organic’ musical structures,which were in relation with the greater structure which embraces this Universe, and which we could call the Creator or God. The artists in the musical field before the end of the 19th century mostly were devout people, even when they hardly talked about it, or experienced this aspect of themselves more or less unconsciously. But it is a certainty that they didn’t consider themselves and their work, the music, as detached from this all-embracing, religious principle that penetrates and forms the universe. With the increasing intellectual approach of the world and the visible phenomena, modern man  has broken with this relation, this structure, in the course of the last 100 to 150 years. The divine  which once penetrated everything has become detached from its own creation, from the world which we inhabit, with many consequences. With the intellectual, human skills the desire has arisen to experience personal freedom, to test and to be able to carry out many kinds of experiments in this world. Man felt the urge to free himself from the old structures and regulations which had ruled the world for centuries, and independently look for something different, something ‘new’. This road, this experience, teaches man that when he wants to traverse this universe purely and only by his own efforts, he will sooner or later go astray. Human freedom exists, certainly, but in spite of everything it needs structure, a plan, a map, otherwise it will result in chaos, an impasse. This is what modern man goes through at this moment, and the musician too. Freedom, unimpeded creativity, eventually comes to naught when on the basis of this free will man doesn’t want to or isn’t able to subordinate to certain universal coherences or regularities. Human intellect cannot create these structures, they are part of the Creation, the creative pattern.


Contemporary music very clearly shows this dilemma. The melodious, harmonious element is disappearing, with only rythm as a result, filled with incoherent tones. This is the result of intellectual dominance and being detached from a form of universal harmony, that concerns the Divine. This doesn’t mean that the modern musician or composer should return to the old (situation), to the past. In that sense progress is inevitable. But man, the artist, will have to involve the ‘higher’ in his activities again on the basis of his free will, in whatever way.  If not, he will not be able to continue his way harmoniously and find the structures which shape this Universe. Music is based on regularity, on mathematical principles, and the composer needs exactly  these principles or structures  to shape his creative inspiration. But to be able to experience these, it is necessary to descend deeper into oneself, and to get into contact with the reality of the soul. This reality, this consciousness, is the new aspect in the music of the future, and in this way harmony in a general sense will also be able to make its entry into this world again.