The 3 Miniaturen nach Nietzsche are an unfinished piece. I had to interrupt the work on it because I was fully engaged for months, inter alia working as a music engraver on Helmut Lachenmann’s orchestra piece Schreiben. When I started to compose again, I realised that I could not simply continue the work, but it felt like starting a new piece. This is why I decided to actually start a new composition. I had planned to write seven miniatures. The first three ones are based on poems by Nietzsche (Ecce Homo, Dem unbekannten Gott and Über meiner Haustür). The remaining poems are used in the later piece Utopia III. Hence it may be regarded as a continuation of 3 Miniaturen and is ideal to be performed right after them. In 3 Miniaturen nach Nietzsche, the pianist does not only play the piano, but also four cowbells. This is an idea derived from Karlheinz Stockhausen’s Kontakte. I have adapted it already in the piece Entgleisungen. The miniatures are very noisy. Ratchet sounds alternate with scratch and click noises. Additionally, hits and scratch motions on the cowbells are pre-dominant. The soprano does not sing, but speaks or uses the so-called spoken-voice. Only the final miniature features the keyboard of the piano being used ordinarily, so-called speech-song and normal singing.