In the context of the non-tonal, rhythmically complex tonal language of Hans Winterberg's works of the 1960s, the Sudeten-Suite with its turn to tonality has its own special place. The three movements are dedicated to scenic „events“ in Winterberg's Bohemian homeland, demarcation points of Czechoslovak territory on the border to Poland in the north (Schneekoppe, Elbquellen) and to Österreich and Germany, the so-called border-triangle, in the south (Plöckenstein).

It is program music in the be...