Walter Samuel, esteemed Professor of music at Hamburg's Erma Schultz Akademie, has long been seen and regarded as a highly respected authority on the the music of Klaus Harmony and has seen to it that Klaus's music is now being studied as a central part of a German Music Conservetoire module (Klaus Harmony und die moderne Besch
fatiguing des Pfostens von numeralogical refrence in der Musik der Erotik Expressionistbewegung 1969-1981).

We are very excited to be seeing this and are giving our full endorsement to Prof. Samuel for the use of any materials in these most worthy academic pursuits.

As such, and from time to times, I am committed to including writings from him on the subject of my friend's music here on my blog. So without any further doings I present a analysis of Another Day, Another Friend, which is included on the fourth volume of OEUVRE...

ANOTHER DAY, ANOTHER FRIEND, 1971

A keen proponent of the palindromic form, Friedrich Wohlfäht ends Die GROSSE BRUSTWARZE KARNIVAL in the same setting as its opening titles. Focusing on Lora's return from the countryside and her rural affair, the closing montage inter-cuts slow motion footage of her tender experiences with images of the metropolis to which she is returning. Klaus Harmony's response to the sequence was a breathtakingly simple and fine piece featuring a moog ostinato on the tonic chord throughout. The composer believed it to be his best music to date and called it 'an expression of humankind's capacity to defy uncertainty'.

Wohlfäht thought it a work of genius and felt certain it would achieve recognition as such. Eventual disappointment followed however; the composition never became widely known other than for its use in a corporate presentation film for Spaldeve PLC, a Danish company selling time shares in Sweden.

Walter Samuel, 1997