But it is equally necessary to consider the implications for a society if there are fewer and fewer young people making music because we are economising on music schools or musical education in schools.
Certainly the interest in asserting copyright is a justified one.
A hundred years ago, of course, the question that the German Composers' Co-operative asked itself sounded a lot more fundamental: How do you create a fair share for those who ensure that works can actually be performed at all?
Education is more than Pisa. Particularly musical education. We also need education and training for more than reasons of usefulness and marketability.
A hundred years ago, when Richard Strauss, who has already been quoted and already been heard today, and other creative people, laid the foundation stone for the joint assertion of their rights and interests, they had pioneering work ahead of them in Germany.
We must prepare the ground for creativity. And if this also gives rise later to success in the economic sense, success in terms of Euros and Cents, this will by no means reduce my joy.
But I think that sensitivity is also a good counsellor when it comes to enforcing one's interests.
I understand the worries of many - not only here in this auditorium -, and some have already written to me to say that technical progress has lowered the threshold that stops people from helping themselves to protected works without the slightest embarrassment.