The composer describes her compositional approach:
"It has always been a deep need for me to transform experiences, feelings and moods into a musical language to paint pictures of atmospheres.
The setting of literary works is particularly close to me, because in this genre I am able to follow my imagination along a 'golden thread'.
Here I feel connected to the tradition of tone poems, especially for chamber music ensembles. (Such as Arnold Schoenberg - 1899 ‘Verklärte Nacht’, Leoš Janáček - ca. 1910 ‘Pohádka’, Paul Juon - 1920 Piano Trio ‘Litaniae’).
However, I write modern contemporary music in which I incorporate stylistic elements from classical music, harmonic structures of impressionism and modern jazz, as well as rhythmic influences of world music.
My compositions usually follow a scale-related approach, rather rarely the traditional functional harmony.
Among my compositions are, on the one hand, those which are notated in a 'classical manner' tone by tone or an interweaving of notated melodies, predetermined rhythmic grooves, selected tone sequences (scales) and freely improvised sections.
Essentially appealing to me is the field of tension, which results on the one hand from a framework I have conceived and on the other hand from free interactive dialogues between the participating musicians. I pay special attention to a partnership-based interaction and a thereof resulting common sound.”