In memory of the Declaration of Human Rights 200 years ago with the buzz words 'Freedom, equality, brotherhood' was composed this piece that neither Metrum still knows bar division. Each tone takes as much time as it needs to unfold. The introduction of the metric system during the period of the French Revolution - to facilitate justice, and the detachment of today's music from a solid Timing - to gain freedom, both are directly related. This piece I have with the help of my self-written computer program 'PLAYTX' composed, which allows all the desired properties of a sound to manually enter and hear the sound as you type and so on to control.

The fifth season, metamorphosis of music. It is the season written by man for man, the useless after the useful. Sometimes an imitation of nature and the changes imposed on it, caricature. From birth to death, from love to oblivion, it is destiny that makes a story, but not history. The fifth season is the eventuality, a stage, a possible continuation of the "Four Seasons" frozen cycle of the past, pardon ... of the present.

Recording on Andrea Libretti's Viaggio nel Mondo degli Insetti.

The title "Before the Sea of ​​Glass" refers to a scene described by the Apostle John in his revelations. Having reached Paradise, he sees a throne surrounded by a rainbow from which flashes, rumblings, and thundering sounds start. Around the throne there were twenty-four old men in white, four strange winged creatures covered with eyes, and angels in great numbers. Each in turn worshiped the one seated on the throne. A myriad of diverse creatures united in the same act of worship: a scene at once majestic and sublimely peaceful. And in front of the throne in the midst of this adoration is "what looks like a sea of ​​glass, clear as crystal". The music is based on three types of material: a buzzing of the strings, melodic circles derived from the strings and bell-shaped bell tones in contrast. They were all produced on the EMS 100 synthesizer. The buzzing between imperceptibly through a series of inversions and varied spaces, to evolve into focal point of the climax. The melodic circles are formed by a "sweeping" filter that illuminates the harmonics of the buzz. United by a common source but distinguished by different rhythmic times and patterns, they intertwine each …

The play was performed at GRM studios, Radio France, in 1987. This is an illustration of Paul Eluard's poem "The Phoenix.” The music, produced from the voice of the mezzo-soprano Anne Gilbert, follows the different situations suggested by the poem, in a sort of semantic game where the meaning will be lost and found by producing a narrative musical and episodic form evoking the shape that follows. As its title suggests, the play is made up of small moments that follow each other, while the text frames the overall form of this polysemic diversity. "Microrreflexiones" won the 2nd Prize of Electroacoustic Music at Program of the International Competition of Bourges, 1988.

"Shiluvim" was composed for the choir "Ankor" and commanded by their leader, A. Meroz. The work is conceived on two levels of combinations: 1. That of electronic sounds and a live performance of a children's choir. 2. The combination of two chords, the minor and G major, while a seventh chord in E-flat mixes with them. The text is composed of syllables that help bridge the gap between the children's voices and the sounds on the tape. Work done at the Studio of the Hebrew University.

Canticum (1987) was composed at the Electronic Music Studio A of Stony Brook University. It uses exclusively analog techniques of sound manipulation, based on the spoken word as compositional material. The text consists of a fragment of the Psalm 34, in Latin. In this work the technical virtuosity, and the sudden alternation of different textures allows the dialog tension-resolution, that even in the end of the piece never seems to arrive to a final conclusion.

Ivan PATACHICH: 1789 Libegal FRA The title of the play is a date, known throughout the world, and an acronym containing the first syllables of the three slogans of the French Revolution: FREEDOM, EQUALITY, FRAternity. The sound materials of the play are those three words spoken and sung in nine languages, French, English, Spanish, Chinese, Arabic, German, Erithrenic, Russian, Hungarian, and the sampled structures of the vowels and consonants of these notes in nine languages, as well as two concrete sounds. These sounds are interlaced by a pre-recorded and modulated percussion part and another one of percussion "alive" / live / without modulation. The work has nine parts "atacca". Its bridge shape is phrased by rhythmic contrasts. After the fifth section, the sections return "in crayfish", but in a varied form. The stereophonic work was realized with the collaboration of Istvan Horvath, sound engineer, Gabor Kosa, impact, Agnés Mester, -soprano, Gabor Olah, -Baryton.

"Anamorphées" was made entirely from a single instrument (saxophone) of five seconds, processed in computer delayed time. The basic instrumental sequence is presented, isolated before the play for the jury. The use of a reduced original material makes it possible to carry out a real "genetic" work of sound and musical development where each stage of treatment is an opening towards other possible ones. From mutations to successive mutations, the resulting sound objects are diversified, progressively or radically different from the basic model, becoming themselves the starting point of a new tree generation of transformations, then developed and organized in sequence by micro-operations. montages, tiling, brewing ... Some terminal sounds are separated from the basic sequence of a considerable number of transformations (sometimes more than thirty), something unrealizable without technical problems (support) in an analog studio. Just as impossible, carried out traditionally, are the operations brought by certain programs dealing with the temporal order allowing extremely complex micro-assemblies going below the only ones of temporal perception until the organization of whole sequences, making pass the anamorphosis of the detail to the composition. The anamorphosis is also of musical order - to take a very conventional instrumental sequence: legatissimo and rapid …

Cricket Voice is a musical exploration of a cricket, whose song I recorded in the stillness of a Mexican desert region called the "Zone of Silence". The quiet of the desert allowed for such acoustic clarity that this cricket's night song-sung coincidentally very near my microphone-became the ideal "sound object" for this tape composition. Slowed down, it sounds like the heartbeat of the desert, in its original speed it sings of the stars. The quiet of the desert also encouraged soundmaking. The percussive sounds in Cricket Voice were created by "playing" on desert plants: on the spikes of various cacti, on dried up roots and palm leaves, and by exploring the resonances in the ruins of an old water reservoir. Cricket Voice was completed with the financial assistance of the Canada Council. The composition is dedicated to Norbert Ruebsaat, who wrote: It's hard to be a night in the desert without the crickets. You make it with stars. You make it with the skin of the desert night. You stitch those two together sky and earth. You find it with your cricket voice.

Haris XANTHOUDAKIS: 1 ... 789 It is the setting to music (of the "setting in rhythm", more precisely) of two Greek texts talking about the French revolution and illustrating two opposite aspects of its impact in Greece, still occupied by the Turks, of the end of the seventeenth century: a "Patriarchal letter" (sort of circular of the Patriarch of Constantinople, to read in the Orthodox churches), condemning the French who "practiced the fraticide, killed their king and lost their faith in God" (in this order) and, on the other hand, a poem by Antonios Martelaos (1754-1818), congratulating the French for having shed blood for the freedom of the people. The first text is played at the beginning and end of the song (phonetically reversed and in a normal voice, respectively). The other forms slowly, parallel to a rhythmic accompaniment, of "disco" nature. This double reconstitution will be done in steps of proportion 1: 2: 3: ...: 7: 8: 9. A portion of this proportion, namely 1: 7: 8: 9, serves to generate an interval pattern (semitone, fifth, sixth minor, sixth major) that appears in both its sequential and simultaneous forms. Repetitive music, "disco" music, serial music, for a piece that …

Of course, this Chiaroscuro is one of shadows and light, of opacity and transparency of sound, of the incertitude between one and the other. However, beyond this, it is the ambiguity, the hesitation between spoken and suggested, between face and mask (warning : a sound may hide another), between manifest and latent, enactment and illusion. "Trompe-l'oreille" music. As in much of my work, certain sound elements come from earlier pieces and are developed anew here. I like the fact that the discourse is continued, completed. Besides - and in homage to the composers of the Montréal concert organization "Les Evénements du neuf" (1978-89): José Evangelista, Denis Gougeon, John Rea and in particular to the memory of Claude Vivier - I gave in to musical larceny (with the unwary complicity of its victims) which, I hope, creates an iridescence here and there, a volontary enigmatic contrivance. Mutation of the musical instruments : mobility, relief, colors among the shadows...

The permanent guillautine or "Who destroyed my song", 1989, texts of Alphonse de Lamartine, Salomé Kestenholz, Théroigne de Méricourt, recited by Gunda König, 13'30 " produced at the ELAK studio in Vienna, Austria (Institute for Composition and Ele- ktroakustik / Hochschule für Musik und darst Kunst) My piece is based on a constructivist idea that I call "compact music". By mathematical division of a piece of music in 2,4,8,16 etc ... parts of the same lengths and by their overlays, one can arrive at a rather short summary, campact and gray. It is an object that contains all the elements of the package composition. I did this operation with the song "the permanent guillotine", musical elements revolutionaries. Between the birth of a song and its violent destruction ... "Who destroyed my song? ..." To this process are added texts on and Théroigne de Méricourt; in French the "biography of Lamartine, in German a critical reflection and" feminist "of Salomé Kestenholz edt a poem of Bertold Brecht.

A musical essay on the aspects of time: report and situation. Work performed at the Institute of Sonology Utrecht (Netherlands).

Recording of Richardo Nillni's Entropogel.

It is an electroacoustic study for many composed of concrete sounds. The work presented is a search for a relationship between soft sounds and crystalline and metallic sounds.

Recording of Cornelius Tazelaar's Zum Neissen Engel.

A kind of electroacoustic medal in the form of a commemorative "Dramasonie" dedicated to those who lived enslaved in all times and in all nations. Served by those whose proud and contemptuous arrogance is the only reason for their desire for power and domination. Those are always present ...

Déjà vu was written in 1958 in collaboration with Vladan Radovanovic. The work is inspired by the European Music Year. It is based on variations of B_A_C_H + S_C_A_(rlatti) + H (än) DE (1) motives and quotations from three works by Bach, Scarlatti and Händel. To recognize something as already experienced, in other words déjà vu as psychological term, is symbolically expressed through the author's music, passages and strata from the very composition, through the self quotation, and remindings of natural sounds as well.

A parterre of joy the pretty space trapeze. Mechanics of Lightning Febrile ions exploding the thunderbolt, the storm heard but misunderstood answers its sound. Stun! Splash of silences. Water itself carries within us who transport it, who season it with our multiple moods; well. A perfect liquid by listening to our cycle in condensation and in flow of attractions. Waterstone, from my heart a stroke of frost. The work is dedicated to Francis Dhomont. Pierre Bouchard: "Wedge the time between my teeth. Concide with the present. I like the sound ecology, the phonic reserves. In the mesh of training, too. Lead the noise in concerted moments ... That's it!”

"One day, the other" work composed in 1986 in the electroacoustic music studio of CNR Amiens is a series of paintings passing like dreams, melting musical and anecdotal sounds.

Piece for 4 percussionists, magnetic tape, text and slide show in six movements Sounds of wood, metal, vibraphone and marimba. Image: dissolve slideshow on Kandinsky images. Little dream in color Schematic colored vibration Double sound Fine lines resist heavy point Punctuation Random Musician: Patrick Devers percussion Jaqui Détraz Tabla Pierre Coppier percussion and text Bernard Donzel-Gargand percussion Philippe Moënne-Loccoz Sound Recorder Jacqueline Boirard Voice Claire Laurent Image Leon Diaz-Ronda Image

The initial idea was to make a piece only on and through Fairlight, via the Musice Composer Language (MCL). He had, indeed, just made his appearance in the studio. So I hung my feet, like many others, in the whole process of learning, from the linguistic difference of the instruction books to the time of experimentation or "taming". He had finally seriously amputated my bank of studio hours, and I had only three minutes of realized ... the machine had me: Well disappointed, to reorient the shot, I took the flint of the Stone Age, Pierre Shaeffer ... obviously, and put me back to cut the band, using the Fairlight as a sound generator, sampled u no, and as sequencer in real time. And it will go where the world leads. Moreover, it was my farewell play at the luxurious studio of the University of Montreal. Leaving the establishment is also asking when and where, devil, will we see the day to retouch the electro. I wanted to make a more "lyrical" piece than the ones I had made, by comparing harmonies and non-harmonies, climates and atmospheres, "pure" electroacoustics and quotations. After all, the "all sound" is the "all sound", …

"Frastagliate onde" is a composition based on an italian translation of an anonymous greek fragment (about III Sec. b.C.) : Frastagliate onde spettri festanti adornano il suono dei fragili spiriti The Italian translation of this text is very interesting for his particular speech sounds; so all the piece has been developed starting from the analysis of the text recitation, and processing in several modes the phonetic content of each word. Every sound has been realized using only the base text.