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Almost all the works are based on a quasi non-musical inspiration that is translated into musical equivalents. In 'Nachtmeerfahrt', it is the differently perceived flashes of two lighthouses, in 'Riddles and Songs' the form of the cross, which is differently implemented in musical symbols.

Compositional starting point of the works is a theme that is consequently transformed. The harmony is mostly derived by heterophonic practices from the thematic and melodic course. A "suspended" or "broken" heterophony is created by various transposition methods. The harmony is not key related in the conventional sense. However, it goes - just as the melody course - back to their respective sections at a selected total from the chromatic sound supply. This leads to (apparent) tonics and dominants, although less in accordance with the functional harmony as the tonal orientation centers of Gregorian chants.

In 'Septemberpapst' and in 'Riddles and Songs', this process is strictly handled in a way, where each sound refers to the underlying theme-related melodic material. In the first and the fifth song from 'Riddles and Songs', the rhythm is liable to a strictly handled symbolism of numbers.

'Nachtmeerfahrt' takes the starting point for this symbolism of numbers. Basis are long, layered, or even interlocking isorhythmic models. The sound supply is based on a Gregorian melody or their transformations. A similar procedure is also the basis of 'Fantastische Landschaft'. The 'Kniffelreigen' is a consequence parodic variations on a consciously primitive theme and has nothing to do with the above-described of procedures.

In 'Septemberpapst' and in 'Riddles and Songs', this process is strictly handled in a way, where each sound refers to the underlying theme-related melodic material. In the first and the fifth song from 'Riddles and Songs', the rhythm is liable to a strictly handled symbolism of numbers.

In the 'Suite für Violoncello solo', the methods are handled more freely and relate in the corner movements mainly to ostinato models (Ground and Passacaglia). While the movements utilize one, two, four and five of the polyphonic possibilities of the cello, the middle movement, 'monody', focuses on a consistent single line.

Edwin Baumgartner, 1996