The natural harmonics of the retuned guitar strings form the melodic basic structure of the guitar-part and are supplemented by a second harmonic line. The relationship between the melodic voice as the main voice and the harmonic part as a secondary line is also reflected and developed further in the relationship between the guitar and the live-electronic part. The title „Amorphose“ describes the formal aspect of the piece. The aggregate state of an amorphous structure is situated between solid and liquid. This idea of an amorph structure is transferred onto different musical layers: It is reflected through the pitch system, which is divided into „crystallized“ central notes and „fluid“ harmonic structures. It is also present in the relationship between the precisely defined pitches of the Guitar Part and the Live Electronic Part. This relationsship transposes and multiplies the Guitar part permanently on a microtonal level. It does so randomly and therefore always leads to a slightly different result.

Glass combines characteristics such as rigidity, fragility, or translucency. Breaking glass as a natural act of granulation corresponds to the technique of granular synthesis, which I used as the main tool in order to generate streams of cullet. Next to the sounds of glass, water is the most important sound source. Water, being a material related to glass (cullet-drops) also forms a material counterpoint (crystallization versus fluid). This relationship is reflected by the inner amorphous structure of glass, its aggregate state being situated between solid and liquid.

The meaning of Anja Utler's poem »balancen I« revolves around nature and the body. The noise-like instrumentation of the ensemble intensifies the poem's rhythmics language and its richness of consonants. The continuous rhythm of the vocal line is based on repetition patterns and their variations, and is disrupted by the arhythmic structure of the instrumental part.