Probably the greatest misjudgement of the last century was the overvaluation of dodecaphony. Used as a spearhead by progress ideologues since the new beginning in 1945, this led to a way of thinking that focussed on the technology of arranging sounds and turned the process of performing music into an act of adhering to and observing rules. A standard was established that was determined by the supremacy of the Western world, which is no longer justifiable today.

By intensively experiencing the music of non-European cultures and by studying the physiological processes of hearing, I have found a liberating way out of this mainstream thinking and, in close co-operation with players of instruments from the Near and Far East, have gradually developed a generally understandable tonal language and composed music that corresponds to my personal need to communicate. I have also developed a new relationship with the traditional music of my own culture.

For me, composing now means listening - listening - listening: Firstly in my imagination, and then to experience in real life how the sounds are created under the fingers of the players and unfold in the room. The listener should be given the gift of being completely involved in this role of listening and, in a way, "understand" what I want to "say" to them with my music.