Recording of Jean-Claude Risset's Invisible. For soprano and tape, dedicated to Irène Jarsky. The piece is based on texts by Tchouang-tzu, the Chinese Taoist philosopher. In this book, sounds which respond to the character don't come from the physical and visible. The very transformations of the voice transport into fictitious acoustics, which is no longer the audible trace of mechanical vibrations in a material world. The use of synthesis and digital voice processing makes it possible to implement immaterial processes.

Recording of Germán Toro Perez's Estudio de Ruidos y Campanas. The only sound source used was a singing bowl (30 cm) played with different materials. The formal development corresponds to the archetype of the bowl sound: noisy attack, almost steady state and long decay. The space distribution of the material corresponds to the mosaic structure of the material. It is the result of addition and superposition of a great amount of very short samples. The time domain of the material was the main object of compositional work.

Recording of Claude Hermitte's Ciels. The text comes from the revolutionary poem "Egy gondolat bánt engemet..." ("One Thought Torments Me") by Hungarian poet Sándor Petőfi (1823-1849), and can be roughly translated into English as: "When every enslaved people / Will rise up breaking his chains / Red faces will carry red flags / And on the flags we will write: / Freedom for the whole world!"

Recording of Cort Lippe's Music for piano and computer. Music for Piano and Computer was composed in 1996 using signal processing Max running on the IRCAM Signal Processing Workstation. The piece is divided into six sections, has a duration of approximately 18 minutes, and is part of a continuing series of interactive pieces by the author in which, via analysis of audio input, musicians regulate many aspects of algorithms for both control and digital signal processing in real-time performance situations. Analysis/resynthesis and convolution, both which require spectral domain analysis, are used extensively in the composition.

Recording of Rajmil Fischman's Alma latina. The composer has this to say on the background of the piece, and of this piece itself: Time is a strange background against which our lives develop. Linearity is usually out of the question and memory cunningly warps and re-invents our past experience to such an extent that the latter becomes alive, threading between past and future. It has been forty years since my personal thread started, more than twenty since I left the birthplace and a long time since my last visit. During all this span - especially after leaving and finding other homes - the conglomeration of conscious and subconscious moments bubbled out, combined with new experiences and created labyrinthine inner passages in which sounds, images, smells and other sensations from different periods mixed and evolved into new forms. Music which was previously dismissed and undervalued suddenly acquired a new significance. Strong images of pain and joy amidst the contrasting richness and poverty of a South American city became representative of a historico-political situation. Taste and scent of food, combined with the physical sensation of dance movement, turned into cornerstones of thought about the essence of human condition. All of these are …

Recording of Christian Zanési's Arkheion, les voix de Pierre Schaeffer. The composer has these remarks on the creation of this piece: In 1996, on the initiative of the Experimental Music Group of Bourges (GMEB), around a hundred composers paid tribute to Pierre Schaeffer. It was on this occasion that I composed a short, outdated waltz, the theme of which is childhood (it is said of Pierre Schaeffer that, when he was a few years old, he would have written a 'treatise on the hoop'). Later, I continued: the railway, the sound object, the single man, relativity in all things to evoke this multiple man who played with all registers and all voices. So many faces which, superimposed, draw a single form. As for Arkheion, the words of Stockhausen (1995) I composed this work from archives (from the Greek, arkheion). Karlheinz Stockhausen was a kind of distant and inaccessible angel, the ideal situation. I had only used one spoken document then. For Pierre Schaeffer, who is closer to me (I took his classes at the conservatory and produced several radio programs with him) I took, here and there, fragments discovered at random in the considerable mass of archives concerning him. With …

Recording of Joseph Hyde's Vox mecanix. The composer wanted to work exclusively with vocal sounds, but tried to ignore entirely such things as words and sentences. Instead they decided to concentrate on ways in which the human voice communicates without recourse to the intricacies of language. As Hyde put it, there was a want to dig down to the deepest level and lay bare a universal language of squeaks and grunts, which might communicate emotion in the most direct manner, with as few civilizing niceties as possible! The composer notes two primary influences: The first was that of various Dada writers/performers, in particular Kurt Schwitters. Some of the vocal patterns used as source material were based on quotations from Schwitters' Ursonate, which was a particularly strong influence. The second was that of early animated cartoons, such as those of Tex Avery. The aim was to make something that had the same kind of manic and visceral energy as an Avery cartoon, the crude caricature and capricious, free-form narrative, and, of course, the humor. In the composition of the piece, the composer also concentrated very much on abstract 'musical' parameters, in particular rhythm. In this, Hyde was also inspired by the …

Recording of Andrew Lewis' môr(G)wyn. môr(G)wyn was composed specifically for performance in Copenhagen Town Hall Square on a subterranean computer-controlled sound system called the SOUND/GALLERY, the 25 loudspeakers of which are embedded just below the surface of a pedestrian area of the Square. Computers beneath the Square control the 'choreography' of the sound in the space. Inspired by Copenhagen's apparently benign tourist landmark, the Little Mermaid, môr(G)wyn is explores the sea's contradictory yet indivisible characteristics of beauty and danger, as symbolized in the mermaid/sirens myth. It brings together two pools of material - sea sounds and women's voices - in two contrasting musical manifestations, one violent, the other lyrical. The title môr(G)wyn is a fabricated word containing a number of (mainly Welsh) resonances, including sea, death, girl/maiden, white/blessed, and mermaid. môr(G)wyn was composed in Copenhagen during a 10 day visit in December 1996. It was commissioned by Ketil Teisen (Lydl@boratoriet) and Michael Madsen (SOUND/GALLERY), as part of Copenhagen's year as European City of Culture. The sound material was composed in the studios of Lydl@boratoriet, with computer spatialisation composed in the SOUND/GALLERY studio beneath the Town Hall Square (technical assistance: Steen Johannessen). Preliminary work was done in the Electroacoustic Music Studios …

Recording of Giorgio Magnanensi's Per W-Aut.Zones. This works take pre-recorded samples and uses electro-acoustic techniques to manipulate or add to the sound.

Recording of Fernando D. Polonuer's Tus palabras cercanas. The title refers to the inner world. Gestures are repeated in different sounds and the sounds are recreated in different gestural situations. Developments are originated from motives, spatial situations and the synthesis of the sound itself. There is recognizable sounds with little processing, with evocative intention, midi sequences, and digital audio fully processed. The human voice is present but it's meaningless except for its evocative implications. There is sometimes voices of unknown characters and they are a mirrors possible listener reactions.

Recording of Pete Stollery Onset/Offset. Onset/Offset is concerned with exploiting the interplay between the original "meaning" of sound objects and their spectro-morphological characteristics. Thus, there are many recognizable sounds in this piece which can, and should, be perceived on both levels. The sound of a key in a lock on one level refers to the action of unlocking a door, but on another, is also interesting as a pure sound in itself.

Recording of Warren Burt's Portrait of Erv wilson. This work is from a set of five computer pieces which explore static microtonal harmonic fields. This means that once a piece begins, harmonically, it's going to stay pretty much the same for its entire duration. The pieces are descended from the 1970s "drone" pieces and make greater use of slow harmonic progressions to make more varied musical surfaces. Harmony is the primary focus, and so used very simple rhythms, plain electronic timbres, and a minimum of melodic structuring. In fact, in these pieces, any sense of melody is simply the result of how the harmonic material is articulated.

Recording of Andrew Peggie's Les cloches buissonnières. This work (The truanting bells) was approached as a multi-track improvisation. However, after the first track was recorded the music suggested a kind of manic organ chorale prelude in the manner of JS Bach with a sort of mock cantus firmus. Subsequent tracks moved into and out of the suggested tonality at random. This piece was realized on relatively primitive equipment: Korg M3R and Roland Super-JX synthesizers with MIDI links to a Amiga computer running the sequencing program Music-X. All the synthesizer sounds were previously developed and/or edited by the composer, with very few preset sounds used.

Recording of Jun Kim's ZephyrBells. For electronics. This work uses traditional electro-acoustic technique to create a slow evolving harmonic soundscape. The sound characteristics of this remain the same throughout and explore the harmonic and musical space possibilities.

Recording of Ricardo Mandolini's Los enemigos del hombre de conocimiento. The piece has four movements: "Miedo" (fear), "Orgullo" (pride), "Claridad" (clarity), "Vejez" (old age). Sounds include: processed pipe blowing: rhythmic patterns, stemming from simple repetitive pulsations; instruments (clarinet, oboe), and sounds of doors slamming, etc. This work is a modular or mobile electroacoustic work with different possible diffusions

Recording of Andrey Dergatchev's Just what I feel. For manipulated voice, synthetic sound, and electronic processing.

Recording of John Michael Clarke's Tim(br)e. For electronics and processed pre-recorded sound.

Recording of Franco Degrassi's Cookies. For processed pre-recorded instrument sound.

Recording of Ming Wang's Gelbe Gefahr. The origin of this work is based on the composer's origin growing up in different areas of art and living in different cultures (Far East and Europe). The instruments and speech were recorded, then processed several times using relatively conventional methods and mixed in several layers. Objective and subjective levels alternate in development-like forms to form theatrical and painterly illusion, employing three levels of recording: the cello part, as a symbol of western sound culture; the voice of the traditional Chinese instrument pipa, as a symbol of the eastern and the sound of speech, as a means of subjective expression.

Recording of Mihail Afanasiev's The Circle of Existence. This is an opening of the new way of the author's expression. The syntheses of instrumental and studio thinking and the use of synthetic instruments. The fragment of the quartette of the composer V.Belyaev, with whom the composer studied with in conservatory, is used in composition.

Recording of Stéphane Roy's Inaccessible azur. For piano, clarinet, string instruments, percussion, and electronics.

Recording of Wes Richard Wraggett's Wheel. This work utilizes pre-recorded sound, electronics, and effects to create a lot of sonic energy into this evolving soundscape.

Recording of Rajmil Fischman's If stones could have a brief word... This piece was initially conceived as the sonic part of a collaborative project, entitled SAFAH. This was an exploration of the relationships between the concepts of language and borders, which can act as a barrier of separation or become common ground for communication. Most of the sonic material is abstract, except for some allusion to speech. However the energy profiles and textures are intended to create an aural effect of various types of mass, both, as weight and as number of elements, as well as to give different perspectives of location and landscape.

Recording of Petros Theodorou's Tribune to Leon. For theremin, pre-recorded music, and dancer. Comprised of 7 tracks; The awakening, Symbiosis, The ceremony, The possibilities, Cod, The disappearance; Dreaming; Cods, Dying from a laser gun; and The essence of ether. The pre-recorded music is almost a stand alone piece. The dancer is free to improvise during the performance and produce sounds from the Theremin. These sounds are not fully pre-determined. However they should be in the sense of the whole piece. During the 2 Interludes there is no prerecorded sound and the dancer just improvises with the Theremin.