The vocal and instrumental sounds are simulated, the 6-channel room component is missing !

The recorded audience sounds become less frequent, the orchestra 

begins to tune. Into the process of tuning the singer starts to sing, 

thus obscuring the beginning.

The beginning of the text is initially obscured by the orchestra, which follows the melody and rhythm of the speaker. Only thereafter the speaker will be understood with the beginning of the text.

After the first death, one hears tenor, soprano, orchestra, a recorded speaker in Latin parallel to the singing and electronically manipulated sounds from Gluck's Orpheus.

Here, too, the speaker is at first obscured by the orchestra, then articulates clearly, confidently addressing the gods, some instruments speaking along.

Duet soprano/tenor, ignoble, careful, not brilliant, with orchestral accompaniment, in the background a recorded manipulated sound from Gluck's ope

unison + first text

after 1st death, tenor,soprano

„you gods..“

duet Sopr.-Tenor

orchestra parts + soprano



Modified entrance fanfare from Monteverdi Orpheo, the brass play from the rank.

Elements from Monteverdi's Fanfare take on a completely different, natural character through self-similar repetitions.

Nature situation with recorded synthetic choir and soprano

The speaker's text loses its time component, becomes space through repetitions of a word. Soprano and tenor sing vocalises.

State of nature with speaker, choir, instruments and recorded sounds from Gluck's opera

Swaying voice without text, bowed string, instruments (nature...) - the voice of Ute Wassermann can be heard.

"Natural voice" (voice in pathos)

Compulsion, spell, rock, metric compulsive structure

aborted excitation

intermittent escalation

Monteverdi - chaos

fanfare - nature

synthetic choir, soprano

„the silence“


beginning special solo voice

solo voice pathos

compulsion spell rock

contempt hate

tragedy - cut