Five broad sequences of choral one- and two-tone signals – the simplest consisting of a single sustained tone – define a space in which sound archetypes, between an internally moving mixture and rhythmic noise, meet: less ceremony from the test tube, than “Rehearsal” of magical props, where order as a cold arrangement leaves everything open, allowing a look behind the scenes, i.e. into the physicality of the sound objects themselves, means observing listening, and where the linguistic ability of the expressive elements called up recognizes their speechlessness: the first step, again and again, in the search for forms of communication without illusions.

(Helmut Lachenmann, 1992)