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2004 release. Michael von Biel's musical production at the beginning of the 1960s was clearly marked by the expansion of the musical material. "Quartet No. 1" (1962) and even more, "Quartet No. 2" (1963) are noise compositions whose expressiveness rests essentially on the discovery of new sonic possibilities and performance techniques. Bowing with excessive pressure, playing behind the bridge, leading the bow in a diagonal direction, hitting the tip of the bow on the body of the instrument -- these are the techniques with which the sound of the strings enters into the realm of noise. Whereas in the first quartet, the areas of musical sound and instrumental noise are still largely set off against one another, in the second quartet, the concept of a music based solely on noise is realized without compromise. Both of the compositions Quartet with Accompaniment for string quartet and cello (1965) and "Jagdstück" ("Hunting Piece") for 2 trumpets, 2 trombones, 2 horns, 2 tenor tubas, contrabass, tape, e-guitars and electronically amplified barbecue grills (1966) are based on the contrast of divergent sound worlds. Before attending the composition courses of Karlheinz Stockhausen in Darmstadt for three years in a row starting in 1961, von Biel studied one year with Morton Feldman in New York where he met David Tudor and John Cage. Earlier than for most European composers, approaches in aesthetic thinking which couldn't have been more different from one another collided in his consciousness, and this occurred at a point in time when their music-historical consequence could not yet be foreseen.