The characteristic feature of the composition SANDSTRAHLENTROST is the change between three sound-patterns that by their structure and mood are adverse to each other:
part a

The ray bundle - between the concrete sound materials (generated mostly from sounds deriving from sand) and sparingly used synthetic sounds areas of friction and melting are created.

part b
The lamentation - undistinguish-able images become visible and disappear again; they lighten up the manyfold levels of remembrance.

part c
The rotational field - is referring to part a, multilayered sound effects (sounds bundles and fans) and very diffuse sound developments; the end is formed by a cantilena slowly leading into the infiniteness of a white rustle.

There is a second version of SANDSTRAHLENSTROST for
violin and tape. Here the aleatoric and improvisational possibilities of the instrument are matched by the option to cue in the recorded sounds from each of the eight tracks individually, to manipulate them via filters and reverb and to direct them spontaneously to four channels or pa-groups in the hall. SANDSTRAHLENTROST was premiered 1986 within the "Uraufführungen (Premieres)" Project at the Vienna Museum of XXth Century Art. (M. Zabelka)