In Kurtág's song poetry, this series is exceptional in many ways: it uses texts in different languages, by different, partly unknown authors, and the soprano voice is accompanied by only one piano, just like in the case of the traditional Lied. At the same time, the individual movements are very Kurtágian in their musical language: the "beating" or "Hölderlin" topos can be recognized in the 2nd song, and in the 3rd, the sound of simple, clarified laments.