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.

Allegory (11’52”; 1987) is my second composition in the medium of computer music. It was created at the Brooklyn College Center for Computer Music on a Sun 3/160 computer, using the Csound synthesis program and Fromp, a music composition program developed by the composer that generates musical fractal structures. All of the sounds heard in this piece, pitched or otherwise, result from a filtering of white noise. The idea behind Allegory takes its inspiration from the music of the duduk, an ancient Armenian double reed instrument of a particularly haunting and beautiful quality. Often in duduk music, there are two players. One plays the melody while the other, through circular breathing, plays a continuous drone on a single pitch. The melody emerges from this drone, plays beautifully and all-too-briefly, only to return inevitably to the drone. In Allegory there is an ever-present drone composed of thirteen frequencies that are the source material for the entire piece. A fractal texture based on these frequencies emerges from the drone and grows to prominence, only to undergo a transformation: certain elements of the fractal die away while those which remain align themselves and synergize into a new quality, the sensation of a single …

Upon heels of the introductory resonant gestures, the Griffith Observer proceeds to explore a granular network of sound. Following a brief retreat, the observer steps into a dense space, highly kinetic in the actions of its minute components. The Observer soon climbs to an aural plateau from which the opportunity is taken to reflect upon its accomplishment. A strange, new atmosphere soon forms around the Observer, agitating the prior calm space with wide sonic clusters. After a grand shift in pitch, a settling of mood soothes the Observer as it is guided through the passage of a more gentle space. The Griffith Observer, upon discovering a path fluid in timbre, finally diffuses into the very space initially attracted its attentions.

Eduard ARTEMIEV: 12 looks on the world of sounds The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the stamp", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", part two: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm on an equal dynamic level. To continue these variations could be interesting. …

The composition was based on frequencies calculated on a computer, which are intentionally beyond the system of tempered tuning. From these frequencies, simple sound objects of various character were formed on a synthesizer. By mixing them, a number of more complex sound objects were formed. A choice from this series of objects and a montage of them resulted in the final form of composition consisting of ten parts connected with one another. I made the composition under the guidance of Mr. Rudolf Růžička.

The prelude combines electronic 'droplets' with points of sound from the piano to evoke a kind of glitter which floats above shifting and swooping gestures. Meanwhile, the instruments compete for who plays the note D most beautifully. The main body of the piece is driven by an urgent pulsing beat and the ensemble superimposes a sometimes imitative, sometimes contradictory interplay. The energy increases with a percussive assault which finally detonates leaving a kind of musical debris in the form of a looping jazz-like sequence. After a short respite the pulsing re-emerges and builds to a loud climax. Mystery and Revelation was commissioned by the New Chamber Players with funds from Northern Arts and choreographed by Trish Winter for Tandem Dance.

Recording of John F. Paul's Trivial Pursuits.

Tragoidia 1) A dramatic or literary work depicting a protagonist engaged in a morally significal struggle ending in ruin or profound disappointment. 2) 2) Any dramatic, disastrous event. Komoidia : We now and now enter the region of a big guy who eats pies and does not lie in the sun but always tells the truth without shades. With his mephitic breath he sings for night watchmen who intrepidly become character traits as they watch him introduce the players. There are buzzards, there are children, there are musics, always accompanied by their mother who works at the borderline for the mentally accelerated. A magical disarray fills all space with its space, where Haydn melodies metamorphize into exotic modes as Dionysus rejoices in Bacchanalian rumpus. All is well.

This short piece begins by launching a number of musical ideas, almost at once, at the listener. These elements (single short notes separated in time; soft sustained tones or chords; rapid flourishes whose contours are more readily perceived than the individual pitches that make them up; aggressive crash-like and ratchet-like gestures) are not so much "themes" which "develop" as sound-objects which continually reappear in varied guises and are juxtaposed/superimposed in different ways. As the work evolves, an initial impression of complexity and tension, produced by the near-simultaneous presentation of several elements, sorts itself out and resolves toward simplicity of texture. Textural polarities established in the piece are reinforced by choice of timbre. The middle section, for example, focuses on a few simple, obviously "electronic" timbres; this both complements its static, hocketing texture, and throws the surrounding sections (whose timbres sometimes approach the complexity of acoustic instruments) into relief. The title was chosen to suggest an intended quality of the composition: a sense of goal-directed motion, of "projecting or impelling forward." Projectile was composed in spring/summer 1987 and premiered at New England Conservatory in October 1987. It was included on a compact disk recording released at the 1989 International Computer Music …

That's it, we thought of everything. We are ready. We wait. Countdown. And then comes a storm. Disorganization. As if to tell us the imperfection. The storm passes. We live by proxy. And we are still ready. And we are still waiting. But there is no more countdown. A woman or a revolution ... to love and to suffer, sometimes we want to never forget. This piece was made with the director's voice, Shakespeare's texts, "media" quotes and many sound-recording sessions.

This composition is built on the axiom that at the basis of the musical invention there are not only the sounds of tempered height and harmonic timbre but also the complex sounds, and especially those constituted by inharmonic spectra. The spectral complexity is the reference characteristic on which all the relationships of internal relationship to this piece are constructed, granting a clear preference, even on a purely aesthetic level, to the most harsh and dissonant multifonical sounds. The overall phonic result is thus maintained in a medium high density threshold, in an area where the difference between harmonic spectra and inharmonic spectra is ambiguous, while the harmonic relations in the superposition of different timbres is simplified to the maximum to allow a clear perception of the timbric dough.

Historically, Balkanization refers to the nationalistic division of the Balkan peninsula in southeastern Europe into many small, antagonistic states in the years preceding World War I. For this piece, I have taken several very brief excerpts of traditional village music from Bulgaria and Yugoslavia, and have separated, put them into various levels of conflict, and have finally tried to reconcile them as much as possible. The tape from which I have taken the excerpts which form the basis of Balkanization was compiled by my sister from materials she collected on a trip to Yugoslavia and Bulgaria in the late 1970's.

The composition was made for the Bicentennial of the French Revolution. Nomination for the "Treasury of artistic achievements - message on the occasion of the Bicentennial of the French Revolution and the Declaration of the Rights of Man and the Citizen", France 1989

Opening music for a Café-Theater show. The daily observations of a girl prolonged, a woman who still behaves as a young girl! From tea room chatter to a very, very, very… meager delirium.

Recording of Alain Louvier's Qu'est devenu ce bel œil?.

Studio of realization : - studio EGREM Havana (Cuba) - studio ICAIC Havana (Cuba) The work is dedicated to peace and Desarmament for development. A liturgical piece in the primitive language of the nature.

"Timbral" was realized partly at the Magyar Radio Electronic Studio and partly at the Radio Belgrade Electronic Studio. The work in the studios involved diversity of technical equipment, both analog and digital. Though almost any sound is attainable by means more sophisticated equipment to day, nevertheless it could be maintained that every kind of equipment possesses undesirable consequences of the use of analog and digital techniques simultaneously, the blending of sounds in the piece was mainly accomplished vertically, not horizontally. Thus a possible critical variety was turned over to the enrichment of the sound palette. By emphasizing the importance of timbre (what the title derives from), it did not become dominate as a decoration but kept the role of an important constructive principle.

Recording of Jacky Schreiber's La Paz de Los Mundos in Memoriam Orson Welles.

I dedicated this piece to my American friends as an expression of thanks for their hospitality during my wonderful stay in the Lehigh Valley in Pennsylvania. The work consists of a few short musical images conveying a carefree atmosphere. Contained in it is a quotation from Chopin's Polonaise as well as a phrase alluding to Polish folk music - a reference to those inhabitants of the Valley who are descendants of Polish immigrants. It was not my intention to compose program music. The piece is rather a musical impression, a joke, inspired by the landscape and the enjoyable time I have had with my American friends.

Recording of Pierre Chuchana and Marc Pira's Microclimats.

The title of the composition is taken from a line by Cicero, "toto pectorum tremens" ("the whole breast trembling"). The main musical ideas in this piece are all related to the act of trembling as a response to some basic emotional state such as anticipation, fear, panic, exhaustion, etc. in order to expand the timbral palette of the pitched material, I have incorporated into the composition synthetic, unpitched sounds such as wind, breathing, and large, struck sheets of metal. During the course of the work the Bach choral melody "Was bist du doch, o Seele, so betrubet" appears; the harmonization is mine and the choral setting is intentionally left incomplete. This composition was realized at CCRMA under an "artist-in-residence" grant from the Rockefeller Foundation. The composer would like to thank Bill Schottstaedt for the use of his FM instrument, which was used to generate most of the sounds in this piece. The composer would like to acknowledge Michael McNabb for the use of his AM voice synthesis instrument.