Entgleisungen may be described as the continuation of Tatsachen in zwei Sätzen. It is the first piece that features manifold extended playing techniques and new notation methods for a larger chamber music ensemble. With the introduction of the work numbers for these pieces, my compositional approach had reached another level, inter alia by overcoming compositional aids such as orchestra libraries to listen to the score or audio software to notate live electronics. However, with increasing complexity and diversity, I became more and more aware of the difficulties concerning the ad hoc notation of unconventional techniques. These pieces are thus the starting point for a later treatise on the notation of unconventional musical techniques, which guided my work for over a decade. Unfortunately, I had to spend this decade without ever listening to Entgleisungen, as no ensemble dared to perform this work. The piece was revised after completing the development of the notation system for extended playing techniques (Dimpker: Extended notation. Vienna et al. 2013). The revision was extensive, but mainly concerned with the methods of notation and not the content of the piece.