Enno Poppe approaches electroacoustic music with an attitude that could be called “sympathetic skepticism.” Although he has been involved since his student days with programming and a wide variety of electroacoustic techniques and instruments (also in his role as a conductor), not one of his compositions until now has been “purely” electronic. In “Rundfunk for nine synthesizers” Enno Poppe uses historical sounds – not historical instruments; the instrumentation consists of nine Computers and nine keyboards. The sounds come from the l960s and 70s: FM synthesis, Minimoog and Piganino. Because no original instruments are used, only computer-generated reconstructions, everything sounds different from the way it did then. The sound is deconstructed and reassembled. The players are not keyboard virtuosos, but rather virtuosos in the use of electronic sounds. Enno Poppe’s “Rundfunk” celebrates musicians and the act of performing, and thus could be called “post-digital” music. It returns human physicality to electronic music in the bodies of those performing it.