Scelsi's works usually originated as transcribed improvisations; therefore they are never based on superficialities of form or compositional technique but always directly reveal the core of their message. Pianist Marianne Schroeder reports that Scelsi recommended daily improvisational practice as a method for discovering one's own creativity; and on his Suite No. 9 "Ttai" the composer is said to have commented: "Play it whenever you're sad. And when you're in high spirits." In Ttai, which links time sequences, quasi-religious symbolisms and meditation, Scelsi indeed creates a calm and composedness that almost seems to possess the quality of an ethereal opiate compared to the earthy, robust Suite No. 10 "Ka."  For reasons of musical dramaturgy, in live performances of both suites they are, therefore, usually played in reversed chronological order, as in this recording. Markus Hinterhäuser again succeeds in making full use of the enormous scope of this music in every single instant, and thus to reflect also its improvisational origins in an exemplary manner.