"Das Nusch-Nuschi" as a lose series of relatively self-contained sections of which some recur in the manner of a Rondo, while "Sancta Susanna" is given a variation form. All the special characteristics of the three operas are nevertheless composed with reference to each other. If they are separated, and each piece is taken as an absolute, misunderstandings necessarily arise concerning Hindemith's meaning.

"Das Nusch-Nuschi" represents in the context of the triptych a high-spirited burlesque; in his music Hindemith not only depicted the witty, obscene, and parodistic moments present already in the text, but also intensified them. In this way he created a score as drastic as it is rich in allusions; in which at any moment suggestions, associations, or references may become concrete through literal quotation. It is music about modern music at the turn of the century, in which Hindemith even parodies particular stylistic aspects he himself utilized in "Murder, Hope of Woman". "Das Nusch-Nuschi" is Hindemith's most virtuoso orchestral score. The virtuosity and masterful artistic refinement of the score is all the more disturbing, even disruptive and irritating, because here Hindemith is setting a frivolous, light-weight text as a parody.