 In some cases this meant a return to the tonal language of the 19th century as well as to the traditional forms (symphony, sonata) and instrumental combinations (string quartet, piano trio) which had been avoided for the most part by the avant garde.For others it meant working with simpler textures or the employment of triadic harmonies in non-tonal contexts.Of the composers most closely identified with this movement, only Wolfgang Rihm has established a significant reputation outside of Germany.