The composition is a meditative work based on the cantability of basic instrumental materials - fragments of melodic and harmonic structures of a cello part - transformed by the vocoder, the digital sound processor, the equalizer, and so on. It clearly shows the author's desire to establish a relationship between these "thematic materials" ostentatious timpani and dynamising structures synthetically created.

Recording of Elzbieta Sikora's Janek Wisniewski. The name of this work comes from the Polish ballade that was written to honor a young worker who was killed by the militia in the 1970's. This work was inspired by the fight for worker and domestic rights during that time.

This concertino was commissioned by Belgrade Radio and was also composed in Belgrade and is dedicated to Paul Pignon. The saxophone part at the beginning of the piece is composed quite precisely which means that we have to play everything as if it's written down. Later the sound material becomes only half sketched in note which will mean that the performer will have to rhythm, phrase and modulate dynamically. In the end there is only a text program, which is necessary, what can happen eventually and what is forbidden. With the help of which the performer must achieve a freely improvised rhythm and virtuosity. The sound material that on the tape an electronic accompaniment was produced with 10 oscillators and 45 clarinet sounds, its various groups at once together were modulated in different ways with many electronic means.

Recording of Tera De Marez Oyen's Charon's gift. For piano and tape.

Recording of Klaus Röder's Polyphonie.

Recording of Lars Åkerland's Inout.

Recording of Ingram Marshall's Fog Tropes.

Recording of Rob Kruit's Unknown Roads

Recording of Theresa Rampazzi's Géométrie in Moto.

Recording of Claude Fatus's Voyager 2 for tape.

Recording of Janine Elliot's "Sinolimi II", an electronic work.

Recording of Ake Andersson's Brown Autumn.

Recording of Gabor Dárvas' Poèmes électroniques

An electroacoustic work composed by Teresa Rampazzi.

Recording of Patrick Fleury's Stalker, an electroacoustic musical piece. The piece consists primarily of computer generated sounds.

Recording of István Márta's The Museum's Voices, for tape.

Recordings of Jeffery Bass's Hadron collisions for tape.

Recording of André Luc Desjardins's "Manu militari" for tuba and tape.

Recording of Joseph Davidow's "Music for two violins, percussion and tape." Recorded in 1982.

An attempt to find a new spiritual consciousness. The Grand Patriarch was not interested. Consequently, I dedicate Motet in all his glorious incompetence to the hordes of black stars.

Recording of Roland Yvanez's Neiges.

Recording of John Celona's Scatters. It was produced using DISTRA, a real-time movement computer performance program created by the composer for a New England Digital Synthesizer.

Recording of Horacio Vaggione's Octuor. Sound material is all computer synthesized. Techniques used include frequency modulation, nonlinear distortion, additive synthesis and wave array synthesis.

Recordings of Lars-Gunnar Bodin's "For Jon III." A electronic remix (?) of part of Bodin's cantata "For Jon" for chamber choir and soprano soloist.