Architectural sketches by Daniel Libeskind and psychological portraits by Janet Frame; Heinrich Heine's critique of romanticism and songs of courtly love from the Lancelot epic; acoustical envelopes of indeterminate width, even when examined under a "microscope", and "dirty notes" from a saxophone (i.e. the rich upper partials of its timbre); the beautiful, alienated tone of a violin, sounding as if emitted from a transistor radio: all of these are parameters that recur in the music of Burkhard Friedrich and define his distinctive signature.
