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"what can I critique the works that I write using this method? What will be my goal in expression if it is not tonal?" My answer would be timbre. The atonal music I find most effective has an attention to orchestration, tone color and note spacing. I'm sure others will appreciate it in other ways but that seems most important to me.

Mozart, that dog-gone copycat. ;) I've played that Sonata in a recital before actually for that very reason. I feel like the melody is better used in the Sonata than in the Overture, but I'm a sucker for Clementi, I am.

I don't think he is afraid of that, Luder. He shouldn't have a reason to be anyway... He just doesn't like the idea of you thinking of yourself as a developed composer because of all the attention you're getting. The purpose of this exercise is to show you how your themes could better be developed by composers who have actually sat down and studied more thoroughly their craft than you. This is to show you how to better yourself as a composer, just saying. Diabelli was already an established and well known composer by the time he sent his piece to several different, well known composers, Beethoven and Schubert being just two. This is a completely different situation from that, so don't let this exercise be a misinterpretation of that, Luder. Try to learn all you can from this.

This thread is about 'composing short pieces using a theme by Luderart' and, yes, it is intended to help Luderart by providing other ways his theme could be developed. Each piece composed belongs to each respective composer and is their own music, not Luderart's, so you're incorrect there. And at the very least, this is a compositional exercise and, thus, not a 'waste of time', as each person will hopefully add an interesting work to their portfolio. I invite you to compose something for this challenge, Sojar. Stopping here solely to post that rather bitter comment seems pointless to me...