Entgleisungen may be described as the continuation of Tatsachen in zwei Sätzen. The working title was similar. However, I have renamed the piece before finishing it. It is the first piece for a larger chamber music ensemble that features manifold extended playing techniques and new methods of notation. The work is divided into three movements. Their sonic events may be recognised from their titles. A – Rauschend : Schleifend : Flüsternd (Soughing : Grinding : Whispering) consists of many scracthing articulations. This is especially valid for the strings, but also the percussion instruments. The strings play behind and on the bridge. Moreover, the pianist scratches the keys themselves – with items or the fingernails. Key clicks dominate the wind sequences. Additonally, the wind instruments articulate soughing phonemes through the instruments. B – Dröhnend : Knatternd : Pfeifend (Roaring : Rattling : Whistling) is dominated by a piano solo. However, the strings are muted by the violinist who reaches into the instrument. Later on, the violinst also utilises mallets to play the string and the body of the piano. Additionally, the pianist hits cowbells, while the percussionist first maltreats the sides of the timpani and the slit gong, later on also the bass drum and the tom-toms. The wind instruments mainly focus on articulating multiphonics. In part C – Kreischend : Scheppernd : Quäkend (Screaming : Clattering : Squawking) playing and fingering behind the bridge dominates the string instruments. The percussionist scratches the tamtams, cymbals and gong, but also hits all parts of the bass drum. Moreover, the pianist plays the tuning pins themselves. However, he also produces single tones, chords or clusters. The clarinetist now replaces the violinist at the end of the grand piano and interferes with it using a threaded rod. The rod is utilised to mute the bass strings, but also in order to hit these strings. The piece was revised once the development of a notation system for unconventional extended playing techniques had been finished. The revision was extensive, but was mainly concerned with the methods of notation, not the content of the piece.