Vingt Moments for orchestra consists of twenty musical miniatures which follow most diverse given structures. Among them are sound plains, single tones, rhythmical figures but just in the small format and thus "isolated", not by chance none of this "Moments" covers more than one sheet of music. Now these musical mini-sound-stations ring out as a kind of work with twenty mouvements, thus in the noted successively, which the composer however doesn’t regard explicitly as a condition of the interpretation of the work. Bröder plays with the work-concept, which is no more unequivocal in the contemporary music for a long time, by asking the question of a coherence concerning the individual work, however, leaving answer open. Should these short sections of the fantasy work as such of twenty longer works? Or is it the experiment character of the shortness which are tested here and should culminate in the "sounding-together of the not-belonging-together"? Probably the composer would like to break open musico-"logical" analyzing and thinking above all a pleading for associative listening.