“Is composition a necessity? Is my composing, my filling in, deepening, making denser, compressing, stretching, over-coming the sense of time with the help of notes, those tender and still so obstinate symbols of the unspeakable, necessary or superfluous? I don't know. What kind of strange, amazing text is this, which has to be continued from generation to generation, which against all obstacles again and again searches for an outlet? Is breathing necessary?”

     Heinz Winbeck

“Winbeck's scores can be hardly attributed to any particular 'school', they do not adhere to any dogma. No particular style. So: Winbeck is an outsider. One would like to leave it at that if there weren't already so many considering themselves outsiders: ... One can quickly prove to most of the self-proclaimed outsiders that their music is in fact not so outsider-like. Winbeck however is one. Winbeck's publicly admitting his affinity to Bruckner and Mahler does not in itself mean that he is oriented to the past - 'but rather to the inside'. And this exposed inner world, of which Winbeck himself speaks rather anxiously, leaves one at a loss for words but fascinated when reading his scores and listening to his music. Winbeck is a decidedly constructive composer, who searches and finds the greatest possible density even when writing expansive and lush works. He consolidates the ragged, even the apocalyptic with great care, he pays the utmost attention in order to create an illuminating instrumentation.”

        Wolfram Schwinger