Tractatus II is the second piece of a trilogy based on Ludwig Wittgenstein’s Tractatus logico-philosophicus. Starting point of the composition is the conclusion of Wittgenstein’s work that outlines the limits of the logical language. It can be used to utter propositions about this world, but not about the spheres beyond it, for instance the area of metaphysics. Therefore, Wittgenstein concludes: “Whereof one cannot speak, thereof one must be silent”. However, it might still be possible to grasp a notation or get a feeling of the world beyond the physical world by means of illogical language, i. e. poetry. Music also utilises a non-logical language or form of expression. The basic idea of Tractatus I-III is to explore to which extent music is able to go beyond the limits defined by Wittgenstein. By doing so, one might achieve some form of understanding of the metaphysical world. The second part of Tractatus reduces the number of voices from 48 to a single one. Additionally, no singing is requested – only speaking, partially with slight timbral colourings. However, an orchestra replaces the chorus from the first part. Tractatus II is divided into three movements of contrasting character, but also connecting sound groups. The sonic character of all parts is described in the score as follows: A – Rauschend, raschelnd, schlagend [~ Soughing, rustling, flapping]; B- Quakend, tönend, dröhnend [~ Croaking, resounding, droning]; C – Atmend, prasselnd, schnaufend [~ Breathing, clattering, gasping]. The first movement is preceded by a narrated part that is non-notated. The speaker proceeds similarly before movement B, the narrated passages are, however, determined in an aleatoric manner. The third movement is introduced by long, instrumental part and ends with ten separated and brief spoken passages played back only via loudspeakers.