Recording of Ricardo Mandolini's Poema Reiterado using the voice of Leonardo Martinez reciting Mandolini's own poem "Palabras" in an electro-acoustic composition. All sound material are disengaged from the speech of the spoken text (Sprachkomposition) which embodies the idea of the ancient synthesis between text and music. Realized at the Studio of the Musikhochschule in Cologne, Germany in 1983.

Recording of Lelio Camilleri's Tess In Stonehenge. The piece explores the relationship between fast sound structures and sounds with a longer duration and different types of envelopes. The sound equipment consists of filtered white noise bands, frequency modulated bands, and sound structures obtained by the control voltage technique.

Recording of Roland Yvanez's "Brumes" for solo magnetic tape. The title translates to "Mists." The piece evokes the relationship between water and air on the surface of the ocean.

Recording of Kristi Allik's "What if...". The title refers to the composer's most common thought during the creation of the composition; the work was the result of constant questioning and exploration, mainly in the area of timbral synthesis and sound juxtaposition.

The kendang is a Javanese drum. In Javanese music, the drum sounds are onomatopoetic, that is they are duplications of spoken language. An appropriate kendang player, however, will always tend to enrich his sound repertoire by imitating arbitrary sounds of the environment. My composition Dialogue refers to this. First the computer-generated sounds are introduced in an onomatopoetic way and imitated by the kendang player. Then the computer sounds develop in a way as to move finally far beyond the expressive power of the kendang. The natural and the synthetic sounds enter in a heavy conflict leading to a climax. The contrast is, however, bridged eventually by fragments of the Javanese music "Subakastawa" in the tender Slendro-9 tuning. The piece was created at Utrecht Muziekcentrum on the 24th of January 1984 with the collaboration of the Javanese kendang player Supangah Rahayu (Paris).

Sequence Symbols exemplifies the composer's exploration of the concept of modulation spectra considered as inharmonic "harmonizations" or chords. The gradual transformation of basic note groups related by common tones provides the underlying pitch structure. Each group so derived in turn furnishes the intervals that are treated as generating dyads for the inharmonic chord-spectra. Chord-spectra can be enlarged by the simultaneous sounding of the chord with its transposition at a desired interval. In this way a variety of tension and release patterns are created by associating a specific interval with various kinds of chord spectra. Common frequency components between the chord-spectra provide a basis for hierarchical structuring of the materials generated by each note group and its possible interval transpositions. The general wavelike form of the piece (at times dramatic, ironic or static) corresponds to memoents of prominence by a note group or interval or their transpositions. On another level, the wavelike shape of the piece can be attributed to the interweaving of sections and their interruption of and by each other. The conception of the work varies from symphonic scale to inteimate chamber-music proportions - a formal combination that seems rather well-suited to music conceived in terms of digital sound …

Recording of Lárus Halldór Grímsson's Winter Romantic.

"Comeclose and sleepnow" is based on the homonymous poem by R. Mac Gough, recited by Stephen Montagne. The piece is composed in six sections. In each section are developed parts of the converted text and are highlighted phrases or words of poetry. All the sound material of the piece was composed solely by transforming the recited text.

Solar Wind is an electronic piece based on synthesized audio representations of bow shock interactions of Saturn and Venus with the solar wind as observed by Voyager, Voyager-2 and the Pioneer-Venus Orbiter. The source tape was generously supplied by the project director of the plasma wave instrument, Fred Scarf, of TRW, for NASA. The plasma wave instrument detects phenomena associated with solar wind interactions in space. The instrument, placed aboard this spacecraft, gathers information and analyzes it using a sixteen-channel spectrum analyzer. The data is transmitted to Earth and drives a computer which controls the amplitude of a sixteen-voice music synthesizer. In some bow shock interactions the actual frequencies of the phenomena are replicated; in others, some frequency shifting was necessary. Time compression is set to a 480:1 ratio. The final sequence of the composition uses the source tape with minimal manipulation. The middle section of the piece (bow shock sequence) uses the source tape, but heavily modified. The remaining segments are loosely based on the source tape.

The title of the work comes from a word Nahuatl which literally means "burning water". Piece quickly explores a sound material frequently associated with maracas, harps, bamboos and a guitar. The live sound of the maracas comes from the traditional rhythmic patterns found in most traditional Latin American music, models that the performer is asked to combine with great dexterity to build wider and very complex rhythmic structures. These rhythmic structures are then confronted with passages of the same complexity on the tape, creating and developing ever more a "star" polyrythm that finally disintegrates. The path is then drawn for a traditional accompaniment game of maracas.

Recording of Iancu Dumitrescu Motto : Opera Aperta. Ursa Mare is a music intimately linked to Orphic-incantatory thought and practice, conceived in the spirit of ancestral, intuitive, initiatory and magical music; its aesthetic, like that of some other works, is subordinated to an acousmatic. Through this technique of composition, which is also a mental technique, which effectively penetrates into the orphic space of a "substantiality of color", by discovering the design of a particular species of sounds, "diagonal sounds", which arise from the selective and elastic combination of certain natural harmonics, organized in "diagonal multisons." It is by the "diagonal," by a sensitive sound thought, that we succeeds in discovering the subtle connection between native (concrete) sound, classical instrumental sound, the sound of special instruments and electronic type sound, at the same time as performing a synth between the archaic (suggested by the echo of traditional Romanian and foreign instruments) and modern, within the same artistic thought.

One of his works that face the Viennese reality. A man puts his foot into the Vienna urban region, losing himself in the underground corridors, composing his acoustic impressions to make collages that presents us as transformed images of reality.

Each year, in the early days of spring, we bloom a high restoir at the foot of a large canvas depicting the half-naked Saint, escorted by two bishops with large mitts, gloves and white pumps with gold.Each flower, each candelabra, every grain of incense consumed seemed to revive, and for a few hours only, the whole scene. The blood flowed again on a base of matte skin, slowly the eyelids of the Martyrdom became animated, the movements of the head and the bust revealed the painful efforts of a kind of arrested march. What the eyes of a trained witness could detect, like us, these otherwise imperceptible details; every year, we thought we were seeing new arrows against him unchecked. Mille flèches, is the music of the repository.

This work is born from the desire to deepen research on harmonic spectra. There is no fixed notes, but almost nothing but timbres.These first appear superimposed before becoming denser before becoming a moving crowd, each time faster. In fact it is impossible to separate the search on the timbre from that of the duration. The first sequence ends with a quiet, perfectly tonal chord (major thirds overlaying each other). Further, the signals are shorter, they appear with oppositing attacks of hard and soft, rising gradually in the spectrum until the treble and the bass meet, approaching and moving away like a circle who would breathe; the signals that have become very brief become a cloud of impulses that now escape the timbric and spectral perception: "pizzicati" mutants in space. From this almost involuntary abandonment of timbre is born the last sequence of sinusoidal signals turning into a space that has become completely colorless and immobile. With the brief reappearance of the initial beams the work ends leaving only the frail signal of a minor third: the central La-Do as the end-beginning of the sound universe.

Recording of Rune Lindblad's Metamorphoses.

Recording of George Skip Brunner's Three Spheres.

Recording of Boyko Stoyanov's Darmstadt Suite.

Recording of Henri Chopin and Larry Wendt's Voyage to California.

Towards White for amplified bassoon and live-electronics was written in Amsterdam, Netherlands and Freiburg im Breisgau, Germany, in Autumn and Winter 1982. Digital delay was relatively new technology, and this was one of the first pieces to use it in a "live" context. The piece requires considerable virtuosity from the bassoonist and high notes you will not find in any orchestration text.

Recording of a fixed media piece by Iván Patachich.

Du Dehors is based on a poem by Paul E’luard from the cycle “Poésie et Vérité” (1942). It is a dramatic poem that tells us about the reflections of the mind of a man sitting in jail. This composition is the 3rd part of my piece “Du dehors-Du dedans” for mezzo-soprano and orchestra in four parts. The tape has been realized in the studio for electronic music of Radio Hilversum.

Recording of Gabriel Brnčić's Polifonía de Barcelona.

A composition for two tapes: one 1/4 inch four track quadrophonic tape and a stereo tape. for two didgeridoos, a bull-roarer plus live electretonics tree with waving speakers on 4 meter long fishing rods plus magnesium lights. Voice: narrator Stephen Dunstan, Australia. Sounds of nature: three actor imitating sea, winds and seagulls. All instruments played by Kurre Nykopp, Finland. Duration 12.45 min. Premiere at the Helsinki Biennale in 1983. This piece has several later versions realized f.g. with saxophones, litophones an tape. All rights owned by authors. E-mail: agaps@nettilinja.fi Programme note: Ò How did living on the Earth start? From which does the time start? Hod did Kosmos got it«s birth? The Big Bull was slaugtered, the Giant was killed, the Chaos was cut, the Mussel was split, Male and Female were separated. This piece is a synthesized fiction of the Genesis story tought to us. It is a story from the very beginning and a story fron mankind«s future. The outer form has three elements: - a four channel tape with it«s Genesis story and the narrator - the tree for good and bad wisdom (live-electronics) - maybe the oldest known instruments of mankind. the didgeroos and the bull-roarer …

"Pain" was realized with two of PDP-15 computers at the Institute of Sonology in the Netherlands, using real-time computer sound synthesis technique and some computer-controlled analogue equipment. Compositional programs are written in FORTRAN and sound synthesis programs were written in PILE that was the language for the real-time computer sound synthesis developed by Paul Berg. This piece was premiered in Utrecht in 1983, along with the following text: This piece is based on my experience in the white room in spring 1980. In that time my ex-professor Yoshiro IRINO was seriously ill. He was dying in the bed in the cold, white hospital room. I took care of him, listening to his breathing as proof that he was alive, to the dropping water in the plastic tube as if it was counting a little of the rest of time, and to the sound of a white wall. Sometimes I felt an emptiness and sometimes a tragedy and a sadness. Pain attacked him, it was getting frequent, and his breath was getting confused. ------ In spite of three months of medical treatment he died on June 23, 1980. After his death I felt not only an emptiness and sadness but also …