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.

We invest the birds of human qualities to create imaginary connections between them and the men. This is what the old storytellers did too, but at bottom the parable spoke of the relationship between man and man. Finally - through music - this piece also speaks about them and us. His composer has tried to pay attention to what the birds themselves know and can do for themselves: the melody, the rhythm, and the possible meanings of their intonation, which have been familiar to us for so long. This is not just the usual information of a coexistence of a million years. Precisely, what we pay attention to - here and now - is not something that is outside the limited world of man. Maybe it's something that exists in humans. This is in the depth of the unconscious, on which our existence of man is constructed. Whence these particular relations, these strange rhymes between the voice of man and that of the bird come from? The birds live around the cathedral already for a very long time. They were fluttering around her already when the towers rising to the heavens were still surrounded by a forest of scaffolds, and …

“Bosco : jardín al compás del deseo” is based on Hyeronimus Bosch’s triptych and especially, the painting on the right, “Musicians’ Hell”. Instead of translating visual images into music, there has been a representation from the unconscious of some relevant aspects like human nature metaphors and the metamorphosis of the objects, the presence of unnoble metal waiting for the alchemic mutation, the oneiric, the fantastic. The characters dance at the hands of Bosco, a huge mask-ball in honor of the goddess Dinamo.

"... The watermark of a drawing fine enough to escape the bite of termites ..." (The invisible cities) "D'Italo Calvino. Rhythmic series of fragments of sounds, arranged in a certain order according to regular spacings, grouped together in independent sets, alternating with other types of sets, made of tapered sounds, modulating loops, emergences. From this thick sound appear the thread and the grain. The movement order is as follows: Zobeide - Sophronia - Antropie - Zemrude - Despina - Procode - Octavie - Ersilie - Phyllide

Eternity, which can be perceived at every moment, divine capacity embracing everything. I had set my foot in the most basic realms of human existence, on a journey to search for the true significance of living. During my journey, I had always felt in touch with something divine. Because I made my music through divine influence itself, I can say that the actual composer of this work is a divine power. I was lived and breathed by its existence. “Memories of the Universe” — we can consider them the most basic memories (realms) existing in a human being. In our modern times, the existence of these memories is about to be lost and forgotten. Not only did I want to act as an intermediary for these memories, I also wanted to try to show the implacable evidence of their existence. The tape was realized using the facilities of the Electronic Music Research Laboratory of Kunitachi College of Music in Tokyo, Japan.

Recording of Jonty Harrison's ...Et ainsi de suite...

It is one of the most recent works of P.B. Michel. It is a magnetic tape made with noises or sounds or complex sounds of electronic origin worked in many ways according to traditional methods such as modulation, multiplication, filtering, clipping, inversion, metabole, editing, mixing. At times, for example, there will be a sort of jazz drums perceived as colorful and irregular strokes; the intensity of each stroke is proportional to the melodic interval between the latter and the previous one. This tape made at the Center for Musical Research of Wallonia with Daniel Hakier as narrator serves as background and musical commentary to a text written by the composer.

Diskus is composed at EMS in Stockholm. Dizkus I is for wind-guintet and tape, while Dizkus II is for Wind Quintet alone. On layer of the Dizkus I - tape is a kind of "pace-maker", whose role is primarily to indicate tempi and to give clues of orientation to the musicians. The pace maker is entirely based on the Karjelus-Strong plucked string algorithm and the actual sounds used in the piece have been generated on the VAX 11 computer at EMS. The pace maker put of Dizkus I - tape turned out to be of more music potential than I had expected. The idea arised to elaborate this material in a third piece of the Dizkus "family", a pure tape - piece this time. Dizkus III is divided into two parts, the structures of the sound material in the first part is "triggered" by the original sequence of plucked string sounds, the second part of the piece expose the "real" string sounds in various ways.

Recording of Yuanlin Chen's Couleur de Pékin. This is a work for electronics.

Recording of Rubén Hinojosa Chapel's El fin del caos llega quietamente. This piece was intended to demonstrate that mathematics can also be a path to music. It was created entirely in real time from the calculus of the Logistic function by means of the Fractal Composer system and recorded in one pass.

Recording of Rubén Hinojosa Chapel's Satélites. This work was created by means of the Fractal Composer system using the calculus of the Henon Map. Most notes were generated by the computer by means of the system's real time interactive capabilities. It premiered in the Havana's XII Contemporary Music Festival.

Recording of Rogelio Sosa's Maquinaria del Ansia. This composition is an attempt to translate into sound the sensations that are felt during a state of anxiety. The challenge was to create a musical discourse starting from a minimal number of elements, in this case only one recording of a stroke on a wood body was used. This sound, through transformation and manipulation, created all material for this piece.

Recording of Christian Calon's Time well (la fontaine du temps). This work was commissioned by Ina-GRM with the help of the CAC and premiered at the Maison de Radio France in 2002. This work belongs to both a radio work (z | s) and sound installation (Time Corridor) that act as projects centered on the question of time. This piece is meant to create awareness of time through listening and is segmented into 4 tracks.

Recording of Serge Bouc's Vocalises.

Recording of Carlos Suarez Sanchez's Mystères des animaux sorciers.

Recording of Natasha Barrett's Microclimate II: Red snow. This piece is the second in a series of works titled "microclimates". "Red snow" was inspired by the meteorological and geographical climate changes the composer experienced during their move from England to Norway in January.

Recording of Stelios Giannoulakis' Plastic. This piece is segmented into 3 parts: genesis, environment, and life. All sound material is originated from a single 10 second recording.

Recording of Agnès Poisson's Oracle et baliverne. This piece is based on the theme "2048, the centenary of concrete music" and explores the passing of time through various sound mediums.

Recording of Mathew Adkins' Breaking. This work mixes electronic sounds with those of classic R&B music.

Recording of Lucien Goethals' Dendrofonies. This is a work for electronics.