In Heinz Holliger's works, the succinct term 'transcriptions' conceals multi-layered variants of the enigmatic source material and the most subtle diversification of sound, using the technical possibilities of the 21st century. In the complete, almost one-hour cycle, Machaut's original compositions, which are to be performed a cappella, have been interwoven with Holliger's transcriptions. Four of the transcriptions have been arranged for three violas alone. The traditional monophonic lay 'Amours doucement me tente', however, appears in a new four-part vocal setting. It is only in the concluding complainte 'Tels rit au main qui au soir pleure' that the singing voices join the violas.

Ballade IV "Biaute que toutes autres pere" für 3 Singstimmen (Machaut) - Ballade IV "Biaute que toutes autres pere" für 3 Bratschen (Machaut/Holliger) - Ballade XXVI "Donnez, signeurs" für 3 Singstimmen (Machaut) - Ballade XXVI "Donnez, signeurs" für 3 Bratschen (Machaut/Holliger) - Double Hoquet "Hoquetus David" für 3 Singstimmen (Machaut) - Triple Hoquet nach Guillaume de Machauts "Hoquetus David" für 3 Bratschen (Holliger) - Lay VII Amours doucement tente für 4 Singstimmen (Holliger/Machaut) - In(ter)ventio a 3 für 3 Bratschen (Holliger) - Complaintes (mit Epilog) nach Guillaume de Machauts Complainte Tel rit au main aus Remède de Fortune für 4 Singstimmen und 3 Bratschen (Holliger) - Anhang: Lay VII und Complainte (Machaut)