J�rg Birkenk�tter's music reveals something like a breakdown or pulverization of form, including the overall formal design. All the same, this breakdown of form also brings about a new florescence of musical shapes that have not yet hardened into convention, or at least have nothing discernibly conventional about them. At this state of formal open-endedness, the chosen material is, as Birkenk�tter himself once put it, compositionally sounded out.