"Would a musical piece be lyrical or passioned when its mainly composed using limited tone series or modes, consequent mathematical numbers and where the form on beforehand was determined by a self-contained graphical structure?"

The answer is, mostly: "No!". This because initial every restriction (of fixed numbers, conceptual approach and "systematism") strongly impacts the emotional side of a work. That's a fact and we know many musical examples which confirm this rule, especially in music of the last century.

Also in this way, “Eneato” (a variation on the ancient Greece "Enea" for number "nine") has all the ingredients which should make the result very rational, with specific and frigid esthetics, non-essential emotions or impersonal character.

Jenny Spanoghe, the Belgian master-violinist, had never met the composer before she studied this work. Only after the world-premiere the composer introduced himself and told her about his East-European routes. The master-violinist sad: "I knew it!". "How that?" Because, all this information was musical "encrypted" in this work and a master-performer can "decipher" it. At that point there was nothing revealed about the "rigid" mathematical philosophy behind this work.

Aforesaid, the answer here is: "Yes, "Eneato" is very lyrical and passioned! It's a strong and very delicate piece too..." Be careful...