Back and forth is developed from a rhythm model of Beethoven’s 13th Diabelli Variation. From this, all rhythmic relationships are derived according to the individually changeable categories a) length of the model, b) number of attacks, c) proportion of durations. The various playing techniques of the oboe in terms of dynamics, timbre (alternative fingerings for a note), sound characteristics, registers, articulations and their diverse mixture as well as the physical effort of the performer are colored and “instrumented”, also obeying the rhythm model , three expression characteristics. These connect to each other in a constantly changing order and, because they are reformulated compositionally with each appearance, form the form of the piece as an ongoing, spiral-like process. In addition to this “back and forth” there is also a historical one: Beethoven’s rhythm model becomes a piece with progressive elements of our time.

(Nicolaus A. Huber, 1981)