For 'Looking for the Borders', Champ d'Action worked with the young pianist Stefan Prins, who has built up a reputation for himself in improvised music. The programme includes work by Karlheinz Essl, an Austrian composer who combines new technology with traditional instruments. His Lexikon Sonata focuses on the confrontation and interaction between a real-time computer-controlled midi piano and live improvisation on an acoustic piano. In More or Less, his other piece, the same questions are raised, but in a different way: the computer sends 'objective' playing instructions linked to haikus to the musicians, who then have to perform or 'solve' them partly individually and partly collectively. In the work of Orm Finnendahl, live sounds and a six-channel sound system are developed with great refinement in a close collaboration between composer and performer. Fedor Teunisse gives a highly individual performance of Brian Ferneyhough's Bone Alphabet. He plays this work, whose score is fixed down to the tiniest detail, on a small percussion set-up comprising objets trouvés. Although the score is extremely well organised, in many places it presents the performer with the almost impossible task of giving it some personal content.