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[...] I think that what a musician symbolically understands about the Tristan chord has not been fully utilised, even with Max Reger's and Paul Hindemith's continuation. The effort to maintain a balance of harmony and melody, according to the nature of our ear, the detachment of what we describe as noise, would have an equivalent in the civilized effort for the purity of nature around us.

Herbert Blendinger, in a lecture held in Graz, 1983







In his effort to write comprehensible music, Blendinger rejects the compositional practices of dodecaphony and serial technology. In the area of an expanded tonality he designs his musical ideas with technical means from different historical backgrounds. Basically, he works with techniques of baroque polyphony, classical-romantic implementation and impressionistic soundscapes. The orchestra and chamber musician Blendinger is familiar with these design elements through many years of play practice, he knows their possibilities and limitations and knows how to unite it to an effective, harmonious whole. His confrontation with the traditional given is broadly conform with the concept formulated by Ferruccio Busoni in 1920 "young classicism", which claims a "mastering, screening and exploitation of all achievements of previous experiments, [...] bearing solid and beautiful forms [...]".

Since Busoni, who claimed this at a time where new organising principles according to the resolution of functional tonality were searched, the number of "achievements", thus the stock of traditional means of art increased, the principle of "young classicism" but proves itself as a timeless valid when it comes to giving up an absolute progressive thinking in favor of an individual artistic expression with communicative claim.

Karin Marson, in Doblinger info, o. J.