The Utopia series stands for a reference to Berio, but also for the gradual disengagement of it. This was started with Utopia IV and is fully implemented with Utopia V. Utopia V is at the same time my Klavierstück V. The idea was to evade the obsolete sounds of the piano, but not to play its interior parts or prepare it in an invasive manner. Therefore, the preparation of the instrument is quite simple: heavy metal, stone and wood beams are placed on the strings. Depending on the piano model, the noise timbre varies. This is, in turn, dependent on the design of the piano. The beams are then picked up by means of contact microphones and sent directly to loudspeakers. The cover is (aside the contact microphones) used as an additional filter. The preparation enables the pianist to access a fresh, not yet worn-out soundscape. In order to transform Utopia V to Klavierstück V, the preparation is replaced by electronic modifications. The instrument is picked up and complemented by abstract (notated) electronic elements. Apart from that, the pianist plays the same piece. Finally, both pieces may also be merged; hence the prepared instrument is complemented by live-electronics. In total three versions (Utopia V, Klavierstück V and Utopia V/Klavierstück V) may be derived from the score.