The Symphonische Musik für erweitertes Kammerorchester was likely written in 1950. It is the culminating work in Rausch’s post-war burst of artistic energy – he composed ten significant works in four years. These works poured out in a wide variety of genres: large orchestra, chamber orchestra, organ, piano, chamber music, solo vocal music, and choral music.

The four-movement work is economical in terms of material. The first movement is a metamorphosis on a serene chant-like theme. In eight transformations, the theme is at times expressed simply in meditative surroundings, while at other times it struggles, engulfed in chaotic swirls of sound. Movement two is a clever, fast-paced perpetual motion with devilish chromatic lines appearing and disappearing over ostinato rhythms. The slow movement has arching chromatic lines interrupted by loud statements in the winds and percussion. The final movement juxtaposes awkward, mismatched ostinati of unequal lengths, incongruently cycled against each other and interrupted by enigmatic statements and brass fanfare outbursts. It is a curious statement, as if the composer is striving to voice something cabalistic, remote, and unknown.