Recording of Klaus Martin Kopitz's Teilstrategien. The piece's subtitle is "10 variations about the sound of a language". There are recorded improvisations of bass clarinet and piano, which were stacked up to 12 tracks with electronic effects. The 7th Variation is only made up of speech and incorporates nature recording.

Recording of Ipke Starke's Flurstück. The composer denotes "Flurstück" as meaning a piece of countryside, a rural landscape (Flur), which is private property; this is important to a central theme of ownership and its interactions with natural environments vs more "technical" atmospheres. It is described as such: The background of the piece is the dismemberment of the landscape, the subdivided land. From this are born the images. Fields, travel, property, appropriation and expropriation, the battle, fields of march in songs of the consequences. The beautiful atmosphere is disturbed. The notion of ownership must appear in the title: we listen differently when we think of ownership. The composer's interest is in particular in the different silences that were recorded in the countryside in specific favorite places. Added to this are "technical" atmospheres, incidences and "hinges" which oppose natural environments, and which are a reflection and documentation of their confrontation, of the division of the earth. The very precise measurement of the landscape is transmitted to the structuring of the piece by precisely measured durations, unequal, rhythmic, but not insertable into a frame. After the journey through these images of boundaries and fences, and faced with this frustrating experience, the composer notes …

This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.