Recording of René Uijlenhoet's Wedge. Music for two audio tracks. The composer describes this piece as being about sounds that wrench other sounds loose as well as frantically racing sounds or stationary sound planes. The piece was inspired by the rhythms and loops in Pierre Schaeffer and Pierre Henry's early Musique Concrète montages. Wedge was created with synthetic sounds from a variety of sources, as well as a pair of distorted bass clarinets and a manipulated cymbal.

Disregard for the welfare of all aspects of the environment stem from the negative attitudes about life that prevail in our century. Champions of bloated Western consumerism are products of an age that has framed and glorified these negative attitudes in popular existentialist philosophies such as the "sex, drugs and rock 'n' roll" ethic - philosophies that serve to vindicate a short-sighted, self-centered, hedonistic indulgence in life. Caring, conscientious, forward-looking attitudes are frowned upon as naive and absurd. The physical manifestations of these negative attitudes (such as running riot with chainsaws in our life-sustaining rainforests*) have devastating consequences for the long-term health of both us and our planet. Recent climatic conditions suggest that the Earth is beginning to lose patience with humanity and is preparing to re-enact history - to flush its surfaces in one mighty cathartic ablution. But are we prepared to perish? My composition is an attempt to musically dramatize this line of thought ; it begins by presenting, in extreme form, the two conflicting ideological attitudes (the positive and the negative), and then develops into a presentation of Nature's singled-handed combat against "evil", and ends on a note of warning (i.e. the music is fictional ; in …

"Delusional episode of short duration, bursting suddenly in a subject with a certain mental fragility." Larousse Dictionary My first attempt to make cinema for the ear. A beginning of scenario: a being who looks for himself dark in a fatal delirium. This piece would be divided into two parts: escape / isolation and fantasy / delirium. This scenario fortunately exceeded, I decide to focus on the internal space and its relation with form. I want to thank Francis Dhomont, Kevin Austin and Pierre De Gagné. This piece was made at the studios of Concordia University and the University of Montreal.

Furies and Voices comprises three movements, entitled Prelude, Scherzo, and Song each lasting about three minutes. It owes its title to the progression from an anonymous, and at times furious, sound stream (highly demanding of some speaker systems) to the intimation of human song, intoned in counterpoint with relentlessly moving sound masses. The "human" sound is derived by way of digital sampling of a trombone sound from an earlier composition, In Memory. A description of the compositional process of the piece can be found in Otto Laske: Navigating New Musical Horizons, J. Tabor (Ed.), Greenwood Press, Westport, CT, 1999. The piece was commissioned by the Center for the Arts, Simon Fraser University, Burnaby, B.C., Canada, and is dedicated to Barry Truax. Furies and Voices received its premiere performance at the 10th Anniversary Concert of NEWCOMP, the New England Computer Music Association founded by Laske and C. Roads, in April of 1991. It was first performed in during the Colleque ?Musique et Assistance Informatique, Marseille? (1990). The piece is available on Neuma VI (1999).

This music piece reflects an evaluation of the Russian history on example of kremlin. Part 1: before 1917 Part 2: 1917 to 1954 Part 3: later of now

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.

The piece is comprised of four main elements: vocal chorus, spoken text, melodic percussion, and non-pitched percussive effects. The spoken text is a popular adaptation of Psalm 23 which is treated freely and recited in both English and German. The melodic percussion is a plucked-string and chime combination instrument (which sounds a bit "gamelan-esque"). And the percussive effects consist of various treatments of the other elements. A fifth element, a pitched white noise instrument with a moving center band width, forms the back drop for the work. As the title implies the work is a lament of war, in which the main elements weave in and out, fighting to gain prominence in the foreground and/or slipping away into the background. The form is basically that of an arch. The first half is dominated by percussive elements. At the top of the arch, vocal elements gradually take over to dominate the second half.

Polish Dances on tape by a priest Baki, eighteenth-in. Lithuanian Jesuit claim to share in the song quoted the preacher's views, although reluctant to accept the phenomenon, which, as they were forced to take on and the author of sermons-lines, and some contractors (Grazyna Barszczewska, Joanna Neuburg, Ania Zielinska, Krzysztof Kołbasiuk and Kazimierz WICHNIARZ) , and songwriter. The song also wishes to note the features that make the nearly 200 years, the Baka deserves exhumation: a clear pulse (blood punched in the mazurka and polonaise rhythm), a fresh breath of Jesuit methods of stick and carrot, lung after sarmacku their distended, his legs smartly pląsające in the "dance macabre" , head full of epithets manierystyczno-baroque, stomach and liver in the seasoned pleasures of this world, his hands a bit tired wygrażaniem and grzmoceniem pulpit with his fist in the window sill, but the ribald humor and heart of gold. Furthermore, the lack of addictions (except wierszoklec / hs / twem). Somewhat provincial manners (especially those rymotwórcze), the belief is highly structured (with the help of a simple odkrywczo genre), so eclectic as to be original. And above all - quite the contrary it - the joy of life, and I …

Is it in biological time? Fertile with these assets, they appear "us". They are interfering with each other. To understand our fantastic opening where each displacement answers a necessity and an instinctive choice, it is an element of power in a reciprocal attraction. In the waters of the lived feelings the souls are confused at the time of the birth of the body. Real existence is created in the power to dream its future course. The invertébé transports its molecules in the swamps to live. Green areas nourish the force of a brutal rite to the solid of the earth, the vertebrate homo-sapiens balance its animal texture. Extravagance of the imagination. Two bodies found to be born together of this limpidity to be one. Entity fed with clear water that never wears and that lava. Feminine nourishing water, wife or mistress of our common lives, ultimate axiom of existence itself – permanent ritual of substance – reason for the movement of spheres. Cold blood, warm blood, oxygen to breathe better their verticality? Germ and early fruit? Interpenetration of our love, true emergence of the man?

"So are you fire of body" - Evocation of the body which lived, of the Promethean body always consumed by the life but never resurrected. A body without function, absolute, an existing carousel for itself, drinking from the restlessness of other bodies. His cavities, his warmth, his breathing are ardent and sweet confessions that murmur desire. "Janvier - Quests of Chaleurs" is an electroacoustic production of the poem by the Quebec author Paul-Marie Lapointe. Divided into four parts, the work exposes four progressive states of an inner reality, states suggesting a confused descent into hell, dominated by desire and haunted by an insatiable thirst for abandonment to the other.

"Pain does not add" Creation in Bourges at the "Synthèse 91" festival and in Paris at the "Son-Mu" festival 1992, (I.N.A.- G.R.M., Maison de la Radio, Paris) We can say that it is a "short electroacoustic poem"

Les Stupra is a set of three poems by Arthur Rimbaud, written at the end of the 19th century. The first two poems have already been 'set' by me, working in the electronic studio of the University of Edinburgh, in 1989. Les Stupra III is the setting of the third poem, completed at the University of Birmingham in 1990. The poems have not been 'set' in the conventional manner. The tape is used to create an environment. The tape is used to create an environemtn for the poems. The poem should either be recited before a performance or should appear in the program note as such.

"..... it is not about representing things (they represent themselves), but the destiny of things." This text, extracted from one of the articles by Felix de Azua (Writer, Barcelona 1944) included in his book "The Learning of Deception" (1989), is a true mystery to me; The attraction for what we don't understand has made me write down these words on my agenda, who knows if one day...

The electroacoustic composition "Gandhi" by the Czech composer Karel Odstrčil presents the fifth part of the free cycle entitled "Cabinet of wax figures". Each of these figures is characterized using unique sound equipment. For example for the composition "Einstein" we used the sound of the bows, "Curie" the voices of birds, "Kafka" the organ, "Amundsen" the hunting horns etc. The fundamental sound ground for Gandhi composition is created by the sound of flutes. By making this composition in the electroacoustic music studio in Pilsen (belonging to the Czechoslovak Radiodiffusion) in collaboration with the sound engineer Mr. Cestmir Kadlec, we have used the mirrored effect ("Spiegeleffekt").

Recording of Tamas Ungvary's "Istenam, Uram!".

Recording of Santiago Lanchares' Recordanto a Ma Juan.

"Li-Po" is a vision of the mysterious and millennial Chinese culture, supported by a composer also belonging to another mysterious and millennial culture (Andalusian). Carried out with a computer and using the "M" program, the work reflects a legendary soundscape, where the poet Li-Po is the central character, his adventures are told by a woman's voice, voice of Ana Mejias.

Recording of Bernadetta Matuszczak's Libera Me.

Recording of Iannis Xenakis' Voyage Absolu.

Dedicated to René Daumal Electroacoustic piece in three movements of non-Euclidean inspiration from the poetic work of René Daumal, "Le Contre-Ciel" (Ed. Gallimard)

My work is dedicated to the memory of Uncle Dalle, who died last year. Uncle Dalle, whose real name was Carl Gustav Wahlqvist, was my father's best friend, already from his earliest childhood. Uncle Dalle was born in Stockholm in the house next to ours where my father and I both were born. Then a day came when he also became one of my dear friends, especially after the death of my father. Uncle Dalle was a wonderful and cheerful person, he was extremely gifted in society and was always passionate about communication and discussion about everything and anything with anyone around him - from the diet method to food alive from Ann Wigmore until the last financial scandal. Under this pleasant surface hid a volcano which sometimes erupted. The person who happened to be the target of such an explosion was really in the heat of the moment. Uncle Dalle also wrote little songs, mostly about his friends in the Stockholm archipelago where he spent a lot of time. In some cases, I helped him with music notation because he couldn't read music himself. The compositional work began in a mode of great despair, where the futility of existence …

"Annazone" (Anna area), analogue concept of proximity with Amazon (Brazil equatorial forest). The singer is of Brazilian origin. During early childhood, the singer was especially impressed by the songs and cries of the birds and insects of the Brazilian forest. This sound world is entangled on several levels (vegetation, smells, noise, light, humidity in constant variation with the hours of the day and the night.) It is astonishing how much the human being is first able listen carefully to the sounds emanating from the vegetation, countless insects and multicolored birds, then imitate them, while adding their own distorting imagination In the forest the signals are slightly redundant to convey intelligibility in this complex environment. The sounds emitted may seem "vocalic" by far (allusions to our vocabulary: Kiveliukiu, Piahiuhuu, Kaijakukike, Jokokoka, Karemu, Hojonga ...), but birds and insects emit all the vocabulary of electronic music, harmonic sound more or less complex, passing through all kinds of impulse sounds until approaching the modulated noises.The volubility is so great that the listener does not succeed. s always really listen to these sound messages and tends to interpret them, especially simplify them. The singer not only imitates the song of birds, but generates, by …

This work is inspired on some pre-Columbian conceptions: man submitted to the forces of a giving universe, yet one that is demanding at the same time. In such a situation, man understands that all security is an illusion, and needs some kind of ritual in order to reconcile the opposites, and to restore the equilibrium of the cosmos. These trusts are not only protected at different levels of the musical structure of the piece, they also orient the criteria employed in the construction of sounds, in an attempt to explore the marginal zones of sound generation with digital media.

"Atlantis", as a piece of a triptych, is perhaps an offering to lost civilizations and their cultures.