"Prometheus Kommt" is a composition commissioned by NOK Korea. The premiere of the play took place in 1988 at the Olympic Stadium in Seoul. The first part (the legend of the fire) was played in monophony during the torchlight procession and the transfer of the Olympic flame; the second part (Harmony) at the final ceremonial by about 2000 speakers. The different sounds (trumpets, tamtam, vocals) were produced and ordered by a program on VAX 11/780. It was necessary to take into account, during the composition, the immensity of the stage, the need to use simple structures (given the number of listeners), the strict organization of the unfolding and the predictable atmosphere in such a situation.

Memories ... The fascination since always for the musics of requiem. Not so much for the text besides, to which I do not adhere, only for a certain spirit, a certain depth. The subject itself is imposing and the composers have often delivered the best of themselves. So I redid the route from the Gregorian Mass of the dead through Ockeghem, Lassus, Cererols, Mozart and Berlioz to lead us to Fauré, Ligeti and Chion. You will see traces throughout my play, as a kind of tribute to people I do not know but who still speak to me through their music. The title of the piece also refers to the "RAM" of a computer that is this volatile memory where the information remains only temporarily. Most of the work was done using computer tools and only from sound material extracted from Requiem. This version of Mémoires vives was completely reworked in the summer of 1989 at the studio of the Université de Montréal's faculty of music. It was premiered on March 9, 1989 at the Claude-Champagne Room, Montreal, in the "It's" concert series of New Events. Mémoires vives is a commission for the Nine Events, created with the help of …

... From one shore to another, edge to edge, moving surfaces, irrigated, improbable, architectural, desert, brutal, volatile ... Organic solitudes ... Swarming Cloud ... Travels ... Inner sail crossing, Towards absence ... Towards the immisson ... To the infinity ... Towards... Meetings / Resurgences at the four Cardinals.

When asked to compose a piece for an all-Samuel Beckett concert in Los Angeles (including works by Cage, Dodge and Gnazzo), I determined not to act a text of the renowned existentialist writer but rather to sample his voice and manipulate the recording to formulate the substance of the music. Upon learning that Mr. Beckett does not permit his voice to be taped under any circumstances, I proceeded to record the lobby of his apartment building in Paris, the open-air Metro stop across the street, a sound poets' dinner later the same evening and two young girls watching a mime act at the plaza near the Centre Pompidou. Added to this were the bells of Notre-Dame Cathedral, the crying of a precocious baby, a sound sculpture, some extended-technique electric guitar sounds and a selection of sonic bodily functions. The result is an impressionistic cyclical narrative sound-portrait, touching on various aspects of Samuel Beckett's life. For a full description, please refer to "Pâte de Pas de Voix" in Perspectives of New Music, volume 26/s (Summer 1988). The treatment of ambient sounds was performed in the Synclavier studio of Henry Kaiser in Oakland, California. Most of the sounds originally were recorded by …

The idea for this piece came to me on a beautiful spring day as I listened, amazed, the music produced by droplets falling melting icicles. I was fascinated by the sonic complexity, the beauty of such a banal natural phenomenon, which usually receives very little attention. A channel had been dug. Melting in the slush, she would probably end up joining the swollen stream at the bottom of the stream. Everything was there: the climate, the tracks of development, the formal idea. Just be attentive.

Recording of John Rimmer's De Motu Naturae. The work is a musical reflection on the author's personal environment. The movement of nature, of a large scale, cyclical, with ebb and flow, is listened to and rendered thanks to the use of accelerated and punctuated dramatic gestures. These elements contribute to the "dance" quality of the room.

Radiophonic piece, written after impressions received at an exhibition "Insolitudes" proposing plastic works by Louis Aons and a book-fiction by Eugene Savitzkaya. "Capolican: the secret of fabrication, need to have brothers and sisters, but he has nothing more to ask of his mother, except that she is silent and disappears." Then following the advice of the Rooster, he creates the mold from which they will come out, content with his factory, what will he say? " Using flanges of the text of the author by its sounds but also by the impact of the word, I wanted to show a fragile balance between this morbid aspect and the humor that can emerge with a little hindsight. Bitter flavors, ephemeral fragrances. Between the inside of the charnel house and the edge. Difficulty to live this possible imaginary or to discard these sharp blades. An alchemy of material where we stop, dream and go back to sewing, without being able to take. Craftsman of a thread. I wanted to thank Pierre Gralepois for his collaboration.

Some Find Me... contrasts two portions of Gerard Manley Hopkins' poem "The Wreck of the Deutschland." The poem, which actually has thirty-five stanzas, was written in response to the sinking of the ship the Deutschland in the mouth of the Thames. The ship was carrying five Franciscan nuns who were exiles from Germany. In this poem Hopkins (who was a monk) is trying to come to terms with his conflicting emotions and impressions of God brought on by this tragedy. The two stanzas I chose (#4 and #11) seem to sum up the overall expression of the poem. The composer’s slant on the poems is from an anti war stance and sees the text as expressing two different interpretations of a creator. He sees that regardless of the religion, there are two main approaches: Those that use religion for war and those that use religion as anti-war. This piece is meant to promote peace rather than a specific religious belief. The piece was realized at the University of Alabama and Birmingham-Southern College Electronic Music Studios. The soprano featured on the tape is Carmen Mason. 11 "Some find me a sword; some The flange and the rail; flame, Fang, or flood' …

The work "Reading a tarot" was created thanks to the use of granular synthesis in real time. It was generated after asking the tarot how to create a piece of music using granular synthesis. His answer about time past, present and future, suggested a sound journey of large proportions that was relatively, easily achieved using GSX and GEMSKX, two granular synthesis programs available in the Simon University PODX system.

"Mura-Iki" was inspired by the different traditions of playing the flutes, especially those from the Far East. The Tradition of the Shakuhachi was of particular importance due to the extensive use of breathy playing. Thus the tittle "Mura-Iki" which means "Explosive Breath". The piece is though written for the "modern" Boehm Flutes, all played by one performer. The performer has generated sounds of different kinds : breathly sounds with and without tongued attack ; harmonics ; flageolets ; overblowing ; hole slaps ; mixtures of tones and breath ; multiphonics ; break tones ; different kinds of lip pressure, etc... All these kinds of techniques are fed into the computer and then manipulated and edited. In this way, the electronic material emerged : large breathy sounds contrary to breathy attacks, hard percussive sounds and sustained multiphonic-like soundscapes. The performer, on the other hand, performs the sounds in their pure nature origin. In addition to the above mentioned main material, eight double-basses have been synthesized partly for providing a sonic contrast due to the different kinds od attacks and sustained character, and partly to provide a "bottom note" for the feel of floating "tonality" especially during the parts where the multiphonics …

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 Charēs Xanthoudakēs' Anamorphoses for tape.

Was initially conceived as vocal music for two choirs, however the computer realization, which I prepared in 1987, took over from this first conception and resulted in a piece that would be hard to define. A11 the sounds have been synthesized. They originated by direct sound synthesis on the WAX/EMS computer using the CHANT program. These sounds created in the first two minutes of the piece. The sounds for the subsequent 12 minutes which form a kind of variations, are transformations of the original material, either through digital reverberation and delay or using voices and sound layers super imposed onto one another. They were realized at the polish Radio's Studio Eksperymentalne" in Warsaw in 1989. The central idea of the piece is the progressive decomposition. Starting from the "realistic" vocal sound it leads onto more and more "electronic" idioms, which never less retain elements of their vocal origin. The world premiere of the piece took place at the Techno-Musical Biennale in Koriyama, Japan in August 1989.

Ran claims to be a sonorous flow where the almost pseudocasual control substitutes itsel to human creativity in different ways. There is a playful alternation, through differents levels of generation, of the creative-compositive process between man and machine. The creative casual process of the machine, once fixed the range, determine the choice of the human creative process. The title RAN (Heran) means that only the interactive comprehension between the casual thing and the determined one can provide balance. In this way the opposites are no more incompatible but complementary, and any of them gives hints to the other making them closer to the aim. Musical events had been realized At DIST of Genoa University and in the composer's studio, using CMusic language. Technical notes: Languages: CMusic (inplemented on Vax), Machine language 6510 Programs: Composer's own program Computers: Vax 11/750, Microvax, PDP 11/23, Commodore64 Tape machines: Revox A77, Studer A-807 Mixer: Tascam M-208, Boss Km60 Analog signal processors: Cabre AF34 stereo equalizer, Pioneer reverb SR9 Samplers: Roland S50 Stereo 16bits 44.1Khz

Tamago no Furu Machi is inspired by a poem of the same name written by the Japanese poet Kazuko Shiraishi. The music was originally composed by Atau Tanaka for Marilyn DeReggi and two percussionists. It is performed here live with midi controllers. The multi-media version featuring Gayle Behrman and Mark Gaster's choreography and Renee Butler's scenic décor underscore the surrealist images of the poem. The giant calligraphy on the parchments represents the text of the poem.

Storm-song, as the title suggests, is concerned with two very different forms of musical material: 'storm' - tempestuous, dramatic and sometimes violent music with a strong sense of forward movement and goal orientation; and 'song' - a more lyrical, melodic aspect suggesting stasis and rest. These two ideas are developed through opposing musical means. For example, 'storm' is characterised in the tape part mainly by noise-based sounds, whereas 'song' uses more pitched material. Similarly, in the piano part, panchromatic 'storm' music is contrasted with much more modal writing for 'song'. Although the contrast between these two ideas is central to the work, they are seldom heard in isolation; rather, a dialogue is established in which elements of both types of material take part, each drifting in and out of the dominant role, this relationship itself being mirrored by the interplay between tape and piano. Storm-song was composed during the spring and summer of 1987 in the Electroacoustic Music Studios of the University of Birmingham, England, and was commissioned by Philip Mead with funds from Northern Arts. It was awarded a Mention in the 15e Concours de Musique Electroacoustique de Bourges, 1988, and in the same year was selected for the …

"Credo Epochula" was composed with basic elements that are computer-generated percussion, spoken voices produced electronically and naturally. With the exception of some brief notes by Joyce Cary, the text is original.

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Arghanum (Gk. organon), arabic name for the byzantine organ. according to Ibn Khurdädhbih, writing in the 9th. c., it had bellows of skin and iron, and the word "arghanum" was interpreted as meaning 1000 voices. Arghanum IV uses a technique based on remembrances, mostly achieved by extracting materials from earlier compositions by lanza. Arghanum IV takes materials from the vocal pieces Penetrations VII and Ekphonesis V [written for and recorded commercially by Meg Sheppard]. The work also uses sounds taken from the percussion pieces Sensors I and Sensors V. Arghanum IV also includes instrumental, industrial and human sonic events rescued via sampling from the recent past. The tape part was realised at the SHELAN studios. Some digital sound processing was done with a Synclavier Digital Synthesizer, at the EMS, McGill University.

Pranâ (breath of life) Where are you from? What are you doing here? Pranâ is a piece that describes the process of arriving on earth. The temporal organization of this coin is managed by the number of gold. The majority of the sound material was obtained by sound recording with microphone. Sampling was the main source of material transformation.

Maze is the first part of an evening long multi-media work commissioned by the Bohus County Council and Musik i Väst. It is planned for a Nordic Arts Festival in Göteburg in 1989, with choreography by Biörn Elisson and stage design by Kjell Åhslund. This is an electro-acoustic work including both authentic instrumental sounds and fragments of song and vocal sounds from Kerstin Ståhl. The idea is to link up this mucis with a species of "sculptured scenes" without any real dramatic content, and a slide show. In this first part of the composition, an alluring surface is strectched to the point of the unbearable in "a balancing act between the beautiful and something whose anodyne loveliness makes it nauseating and ugly". This effect, however, is achieved mainly by pictoral means; the music principally conveys a complex holistic experience. In a second apart, not included in this record, all outward finery is pared away in a bare, introspective vision of life, death, and love.

In El Infinito - in his presentation actuel - consists of four variations without theme extracted as lunar stones from a trip to the infinite musical possibilities offered by musical techology. Infinite microtonal, infinite timbres, infinite rhythms, nuances, ornaments, ... Each of these variations explores the immanent expressiveness of this material. In this regard, there is no structural calculation, but an intuition, an improvisation guided by the same material when revealing its expressive potentialities. The form of this work is also infinite, since variations can be added or subtracted without affecting its identity. Currently there are four variations completed but I am working on others. The idea is that each presentation of this work is different according to the variations that are chosen and their ordering.

The electroacoustic composition "The Ballad about Wood" on fragments of Béla Bartokos' viola concerto was premiered at the Electronic Radio and Television Studio in Budapest in collaboration with engineers Peter Janik and Jan Backstuber. It is based on two elementary sound structures: the structure of the wood and the structure of the polystyrene. These structures are treated analogically, like the fragments borrowed from Bartok. The contrasts and affinities of these structures that seek to achieve unity are the bases on which Bazli built the dynamic form of this composition.

"Berceuse pour Emmanuel" is a command from my wife to make our son Emmanuel sleep.