One could take Wolfram Schurig's Ultima Thule for five ensembles, a work whose mere instrumentation in-vokes that utopian place which, according to the composer, should automatically be the goal of any authentic artistic activity, as a motto for Wolfram Schurig‘s entire compositional œuvre. In ancient Greece, the name Thule referred to the northern-most part of the world, whose accessibility and actual existence, however, remained uncertain. Since Virgil, the term Ultima Thule has been a metaphor for the goal of all human endeavour, and since Ro-manticism specifically of artistic vision (the term was later also appropriated in National Socialist circles). In this work, Wolfram Schurig deals with the ‚paradox of the artist‘s creative process‘, namely the circumstance that the artistic imagination must attempt to envision something as yet unknown to itself. This is achieved by provoking extreme per-ceptual situations by pushing all musical formation in two different directions: dissolution within a mael-strom of extravagant events and fragmentation into individual components. It is not only Ultima Thule, which directly refers to a metaphorical geographical goal, but rather Wolfram Schurig‘s entire œuvre that asserts the inalienable demand to reach uncharted territory as a composer, and always to be equipped to head for new shores. At the same time, one of its fundamental aims is to set the act of listening in motion. Schurig‘s music thus demands a perceptual stance characterised by attentiveness, one that is prepared to follow the music in its transgression of boundaries.