Recording of José Vincente Asuar's Elegie à la mort d'un être bien-aimé.

Los ojos de mis sueños is a work composed in the studios of IPEM, which resulted in my encounter with man-machine. I set my anguish and impatience there, based on the line: What the eyes of my brilliant dreams is beyond death. The pain and the impatience of the synthesizer are of equal importance in the composition.

This piece was inspired by the rite of Sikán and Ikué from Afro-Cuban. This piece tells the legend about how Sikán, a not only curious but indiscreet woman, goes to the Sacred River where sacred Ikué lived. Nobody but the initiates could hear Ikué's secrets. Sikán, being a woman with profane ears was not able to hear Ikué's voice, but she did, and she saw, and she told. Nobody believed her fantasy. Sikán kidnapped Ikué to show it. She paid this profanation with her skin and her life. Ikué died, nobody knew how. But the secret was not lost, neither the habit of reunion, nor the joy of knowing that it exists. With his skin was made the "ekué" which now speaks at the initiate rites and its magic. Sikán's skin was used to build another drum that must not speak, still it suffers the punishment of the long-tongues. Nobody plays it.

This piece was included in first electro-acoustic recording in Mexico under the Colección Hispano-Mexicana de Música Contemporánea. Agua Derrramada is the sonic result of my perception of spilled water with different recipients. The instruments used for this piece are one Arp 2600, one Korg 3100 and a DX7 with no sample technique involved.

"We" has a long history. In the mid-sixties he made music for La burr, by Carlos Saura. In a film sequence, Geraldine Chaplin dressed as a Castilian Spanish woman in mourning, rosary, etc., in order to play to excite her husband. It occurred to me to sound the sequence with a Gregorian-based assembly. The music was censored and I had to write something else. But the experience helped me to devise a work in which the Gregorian was the thread. I thought about making a vast fresco in which several musical traditions met, day logasen and ordered with formal criteria necessarily new and able to encompass any sound material. Thus was born the first version of WE, between 1969 and 1970. I was never satisfied with it, since one of the basic criteria of the form, the intermodulation of some sound objects by others, was insufficiently achieved for what I was looking for. Finally, last summer, I decided to finish it. I settled in Cuenca and, working intensely in the Electroacoustic Laboratory of his Conservatory, on August 19 I realized what I consider the definitive version and, from now on, unique. As so many other times, the sound imagination walked …

Recording of Chiaki Takatsuki's Space B.

As a further attempt in the direction of the Gesamtkunstwerk, this piece seeks formally a connection between high-level linguistic culture, lively drama and precise sound aesthetics. It comprises in the original two parts in a total length of about 1 1/2 hours, the actor is constantly present. Based on their story, accompany the central figure except electronic and concrete sounds, a song. Epilogue (for mezzo-soprano, orgei and oboe d'amore), a short wind quintet, as well as the Mephistowalzer (for violin solo) already known by Franz Liszt, where the musical elements often become independent beyond mere "accompaniment", or to transform itself into counterpoints. In fact, the piece, based on the drama, is located exactly between the theater and the music scene, which in today's highly specialized epoch also presupposes a certain willingness of the audience to engage in and rethink. In the case of the performance here, only a part of the middle of the piece can be presented, which is why in this case the text was mixed with the band, so as not to connect the individual sections, at least the listener's imagination is not speech and music distract; but this is actually in the sense of the manufacturer, …

Recording of John Celona's Possible Orchestras (At the 21 st Harmonic). The sound material for this composition was produced using several FM synthesis techniques. When listening to the piece, high regions of formants are obtained when compared to the frequencies at which the fundamentals are placed. Periodic vibrato is used to modify pitches across the entire width of the harmonic spectrum.

Recording of Pierre Mariétan's L'eau sourd, bruit, chante. This is a work for electronics that includes sounds of water.