Recording of Takehisa Kosugi's Catchwave 71.

Recording of Elżbieta Sikora's The waste land, for fixed media. The piece is a journey through time and spaces. The present is mixed with the past, the ordinary with the extraordinary, dream with reality. The work was commissioned by the Experimental Studio of Polish Radio and was realized in October 1979. The text comes from T. Elliot's poem "The Waste Land."

Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.

Recording of Oeuvre Collective's Il paese della félicita.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Marco Ligabue's Radiodays. This recording is a "radio" soundscape of some moments from the 20th century.

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Lou Mallozzi's Aquapolis. The sound material is language and ambient recordings. The text is written in English, and has been translated into German and Venetian Italian. There are aquatic sounds, body sounds, and sounds of physical labor. Conceptually, the piece is based on a fictional trans-historical walk through an aquatic city, loosely based on Venice. The piece is in four sections: Preamble, 2000 Years Ago, 200 Years Ago, and This Year.

Recording of Ipke Starke's Die Unsichtbare front. The composer notes the following: The spatial installation of this work was designed and realized for the highest space in the building of the Technical Collections of the city of Dresden. This place just below the dome of the tower with its exceptional view of the city and the nearby radio tower is part of the work. The composition itself consists of 16 minutes of music on magnetic tape, constantly looped, spatialized and broadcast through the 7 loudspeakers configured in the space. The piece is based on modulations of extremely high frequencies, up to the limits of the audible, whose dynamic degree barely reaches the threshold of perception. What is significant vis-à-vis the content of the play is their interruption by documentary material: news in different languages, interviews, recordings of demonstrations, reports and documents from the archives, and synthetically generated or processed sounds of associative character. This confrontation of situational elements with documentary elements generates contradictory tensions in space. The architectural form of this one is also substantial: first of all, the space is presented in a neutral way, not done on purpose for pleasure. The exposed location of the dome provides openness, …

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.