In the woodcut Lyrical from the album Sounds, the artist shows a jockey on his horse, racing against the reading direction to the left. He dissolves the rider motif into symbolic lines and areas of color, so that it becomes an expression of power and speed. Behind this is the idea underlying his painting, "to let the inner resonate more strongly by limiting the outer." Kandinsky's artist book "Sounds" was published at the end of 1912 with 38 self-written prose poems, 12 colored and 44 black and white woodcuts. This outstanding album of expressionism was composed by Kandinsky in every component down to the smallest detail: from the lyrical texts in carefully designed typeface to the very different woodcuts to the paper and cover. The poems from the years 1908 to 1913 address the synesthesia of colors, sounds and movement. The artist Hans Arp wrote of Kandinsky's poetry in 1951 with admiration: "In these poems, sequences of words and sentences appeared that had never been seen before in poetry. There is a breath of eternal inscrutability blowing through these poems. Shadows rise up, mighty like talking mountains. Stars of sulphur and wild poppies bloom on the lips of heaven. ... " With the interplay of image and language, Kandinsky wanted to create, as he said, "nothing but sounds, ... a musical album". For him, music is the easiest way to access people's feelings. That is why he tries to compose color tones in painting that correspond to music. These should, like tones, awaken feelings of harmony or dissonance and thus directly touch the human soul. The woodcuts illustrate Kandinsky's artistic development up to 1912, particularly with a recurring motif, the rider. This is, "depending on the degree of abstraction, lyrical or dramatic, fairytale-like or chaotic, concrete-pictorial or symbolic-abstract." Many of the designs were created in 1911 during a hot summer that Kandinsky spent alone in Murnau. He repeatedly used motifs from paintings, watercolors and reverse glass paintings from earlier years. The woodcuts “Mountains” and “All Saints Day”, both from 1911, are completely different. The “Mountains” are fairytale-like and playful and refer to Kandinsky's early paintings. The All Saints Day painting, on the other hand, is part of a whole series of works in different techniques that deal intensively with the Christian history of salvation. With a concealment of the objective that borders on abstraction, Kandinsky translates the idea of salvation into a visual language. The visionary nature of these works is also evident in the deliberately used white areas, because white, according to Kandinsky, is “like a symbol of a world where all colors, as material properties and substances, have disappeared.” A symbol, then, of a spiritual worldview that the artist tried to portray with his painting.