In Farzia Fallah's music, all ears are focused on the sound. It is both the core and the shell of every acoustic process, its beginning...

In Farzia Fallah's music, all ears are focused on the sound. It is both the core and the shell of every acoustic process, its beginning and end. From this consistent approach, the Iranian-born composer develops different, mostly filigree structures and forms. This reflects Fallah's idea of music that speaks through sound, but is difficult to verbalize, as she explains in the booklet text: "For me, art is a kind of reflection, but it is difficult to speak literally about the content. I believe that there is content in every work of art, but linguistically we can only approach it by analyzing and describing it. There is always a distance.

In her search for sound, Fallah draws on various line-ups for the CD portrait: it begins with Benedikt Bindewald's multi-layered violin playing in "… und dann befreit…?", gradually expanding the range of instruments over the course of the album. In addition to Tobias Klich's and Henrik Dewes' guitars in "täglicher Blick auf den Alborz," a trio from Ensemble S201 ("Ausgedehnter Augenblick," online only), the Sonar Quartet ("Holz-Haar-Atem-Licht"), the six-piece ensemble DEHIO ("im selben Augenblick"), and the Ensemble Aventure as a nonet ("Unter Bewunderung der Farben") have their say.