This composition for two pianos was originally composed in the summer of 1981 and comprehensively revised in December 1988. Most of its musical ideas have their origin in Klavierstck 3 (1980), but the compositional concept of Traumlandschaften extends far beyond the earlier piece, in that the use of musical expression as a new compositional element became particularly important. The main character of each section is influenced by its musical gestures per se as well as their locations within the section. Thus, it is necessary to perform each gesture in regard to its inherent musical energy and in relation to its function within the context of the whole, whereby liberties can be taken in the interpretation.