Diese beiden Praeludien enstanden auf dem Hintergrund der drei berühmten Kupferstiche von Albrecht Dürer: „Ritter, Tod und Teufel“, „Melancholie“ und „Hieronymus im Gehäus“. Sie versuchen, mit Klangbildern zu spielen und eine Brücke zu schlagen über 500 Jahre als kleine, klingende, kulturgeschichtliche Marginalien.
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