The tape sounds of this composition are based on recordings of the spoken text and the instruments. Initially, I composed 25 short melodies as well as a four-part counterpoint, which was recorded with the German text and its French translation. The electroacoustic part is divided into two sections: one surrounds the audience, offering soundscapes and spatially expansive movements, while the other is positioned on stage and engages directly in dialogue with the soprano and the instruments.
The structure of the composition is based on the number 5: five large sections, each subdivided into five subsections, form the harmonic framework built upon five five-note chords. These chords also served as the starting point for the 25 short melodies recorded initially, which were processed on tape.