In this paper I analyze the compositional practices of Serbian-born, Germany-based composer Marko Nikodijević (b. 1980), focusing on his recent orchestral triptych: Absolutio, Abgesang, and da ispravitsja. While Nikodijević's earlier career was defined by an interest in fractals, geometry, and a "rhizomatic" understanding of music history, his 21st-century output reveals a profound evolution, reconciling his Western training with his long-suppressed Eastern European heritage. The analysis first explores Nikodijević's formal-building principles, specifically the "postlude" genre, originated by landmark Ukrainian composer Valentin Silvestrov (b. 1937). In Nikodijević's Absolutio, I examine how he employs a "spinning construction" to rotate and expand a single chord into dense sound fields, simulating a gravitational collapse of Romantic and Impressionist gestures. Regarding Abgesang, I investigate the intersection of biography and technique. By setting poetry in the Hungarian language, written by his first composition mentor Mátyás Molcer, Nikodijević utilizes symmetrical structures to create an expansive, dodecaphonic lamentation that serves as both a "swan song" for his lost homeland Yugoslavia, and an homage to the avant-garde traditions of his and Molcer's hometown of Subotica (Szabadka). Finally, the paper addresses the integration of Orthodox influences in da ispravitsja. For the first time, Nikodijević incorporates the Serbian Octoechos, transforming sacred chant through his signature "hyperlink" method, and combines it with references to Shostakovich and citations of Vasilije Mokranjac's piano masterpiece, Echoes. Through an analysis of these three works, this paper demonstrates how Nikodijević's 21st-century music functions as a bridge between rigorous acoustic exploration and a deeply personal revelation.