This piece is thought a a real "live electronics" work which should be interpreted not only by the bassist but also by the "mixer". Because the bass part has a place for individual interpretation, the mixer probably has to adapt to the prepared sequencer – parts by leaving voices or changing the relations of volume in between the "tracks". In this piece, I tried to use my musical youth and roots. I started to contact with music by playing recorder and listening all the music around me (my father used to listen to Beethoven and Mozart the whole day) and by playing drums in a rock band. This mixture was the sound of my youth and I tried to recreate it.

Although composing a piece for tape in an electronic music studio involves a close relationship with modern Western technologies, I hope Gyuto evokes images and energies that submerge far and away the "high tech" machinery used in its performance. Inspired by the well-known Tibetan Tantric Monastery Choir Gyuto, this work generates itself abstractly Tantric spiritual beliefs and directly sounds created by the monks during their songs and rituals. The chants sung by the monks are used parsimoniously throughout the entire work. Structurally, Gyuto is composed of five general movements. The work opens on the image of the monastery, perched on a mountainside and ambiances when the monks, by their songs, invoke various gods, concentrating their energy to better explode then, radiating through the face of the world, resonating with all creation.

Recording of Unsuk Chin's Gradus ad infinitum.

Let us hasten, time flees and we drag along with us, the moment when I speak is already far from me. I like the quotes ..... Today they are so serious that they were in their fun time. They reflect a mentality whose image has faded for a long time. It is especially the musical quotations which, detached from their context, make a forced call to our recognition. Language and music have in common that they become, put together, anecdotal. Impotence takes me in front of commemorations. So I tormented myself, soon provincial composer in a new united Europe, which evokes a revolution that took place 200 years ago. Unimaginable to note all this in irony. A respectable dose of false romanticism may be enough in the tone. Formerly, in 1789, many heads fell. "The last pavane" is a walk, the surrealistic representation of a march to the scaffold. A pas de deux with time and death, jerky and veiled with quotes from different periods. And the doctor guillotine waiting for his patients to soften this last moment.

"Wait for Me" is a concrete piece based on various recordings: the ocean (recorded by Tovar at Backer Point), children playing in a park, a garbage truck loading a mooing cow. The dogs of "Leviathan", and a carousel with carousel recorded by Michael McNabb. The two pieces of text that come back often are "wait for me" and "ducky duck". Some of the voices that go into the mix of "Wait for me" were produced by increasing the sound contrasts. The amplitude of the sound (at each sample) was used as an index in a table containing a modulated sine wave. When a sine X is close to X = 0, the piano portions were left largely alone while the strong portions were changed (modulated) in an ever increasing quantity, the highest point being dependent on the source (index) of the frequency modulation. This process can be seen as a form of wave envelope. The other treatment used is something non-standardized that enhances the method used in "Leviathan" to diversify sounds. As in this piece, I often varied a given sound very slowly, taking small portions of the sequence and making them overlap. In "Wait For Me!", The length of …

It's a piece between music and Hörspiel. It's the declaration of men's rights that inspired me. It is a view of the reflection of the French revolution in Germany (example: Friedrich Schiller). It's my own voice that gives the sound material. The quote at the beginning of the play is by F.Nietzsche after Anaximander: "From where things have their origin, towards this place they will have to perish ..."

Recording of Lazaros Ioannidis' Flower of Age: The Graduation of Discobole the Lesser.

This work is only based on the decimalisation that takes place in France during the Revolution. Decimalisation was introduced in the standards of weight, measures across France. There are 10 movements in the work, some slow, some fast, based on 10 elements of the musical material. The material is mostly synthesized and was generated using AMPLE and Midi Music 2000 hybrid interfaces.

The piece describes the evolution of a compound universe of sound objects when influenced in multiple ways by different sets of structuring laws (state definitions). This universe contains a number of subuniverses, each of which is formed of a variable number of more elementary units. All of these levels may be considered as organic structures, for they describe whole-units through the relationships between the characteristics and the behaviours of their elements. The idea was to create a continuum in constant change, where the different organizational layers would lead to successive and, at times, simultaneous perceptual levels. The sound material consists on five families of "timbres", each having a repertoire of equivalent sound "colours". Two of these families are recorded sounds, voices saying phonemes : a soprano, head register, quasi whisper; a deep bass, forced low register. The other three families were derived from these two, via different spectral transformation routines, so as to obtain characteristic timbres, while preserving the equivalency of their "colour" repertoire.

The composition Luci serene (Lucid Lights) is inspired by a renaissance madrigal of Carlo Gesualdo da Venosa. That is why some of the sound samples used in this work are vocal and choir samples. The using of sounds formed by different types of sound synthesis – additive, FM, fractal, etc. – supported colour vividness and contrast of particular music passages. Connecting effect processors at final modifications made possible to realize the movement and localization of the direction and space depth.

At 12, French, of Russian origin, Jewish, I could carry my head up, believing myself protected from the shame of belonging to the camp of the executioners. At fifty, I have the bitterness of not having this good conscience. And the poor consolation of thinking that it would have been the same, if I had been born elsewhere, earlier, later ... The Twelve, this magnificent poem by Alexander Blok, written in January 1918 to testify of the Revolution (guided by Jesus Khristos -invisible-) is only a pretext. A necessary pretext, indispensable, as much by the beauty of the text as by what it implies. Around this rock, fragments of other masterpieces, but also unknown poems, unpublished poems, words. And the use of these languages, all beautiful when they are intended to love, to understand, unfortunately to hate too ... "The Twelve", like many of my electroacoustic works, is an oratorio made from recordings of natural elements (voices, instruments), numerous montages, innumerable mixes. This is not just a technique that I chose very early to make mine, but a specific approach to composition, allowing for both the voice and the instruments, the use both controllable and directed by a superposition of …

It has been composed and synthesized between March and May 1989. It is based on two typical musical situations: tension-waiting and relax-solution alternated in a formal enharmonic and arhytmic contest. Tension/relax is the dualistic engine of the world and in this case it represents the question and the answer, ignorance and knowledge. The work has been done using music languages (Cmusic, Music360) and commercial devices. Cmusic and Music360 implemented at DIST of Genoa University and at CSC of Padua University. Commercial software Digidesign Softsynth and Turbosynth on a Atari ST 1040 and Additive, frequency modulation and sampling synthesis. Technical notes: Languages: CMusic, Music360 Programs: C-Lab creator, Digidesign Softsynth Midi controllers: Steinberg Computers: Atari ST 1040, VAX 11/750, IBM 360 Tape machines: Revox A77, VTR Panasonic NV-H75 HiFi Mixer: Boss Km 60 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL10, Korg A3 multi processor Synthesizers: Yamaha TX81Z Samplers: Roland S50, S550, S330

Recording of Juraj Ďuriš' Prortet.

Gaia the goddess of earth lost her power and was forced to exile. The human ingenuity is reaching a never seen limit. The existence of the earth is at stake. This work is based on violin, flute and electroacoustic system, the first separate melodies later fusing in transforming tones. Reflections and echo-effects vibrations are giving the final shape of the composition. The work is framed by the prologue and epilogue; the musical spirit of the prologue is enhanced elaborated, in the main part. Summarizing the whole composition the coda reflashes all the important motives.

Is a kind of concert radio art. Concert Radio opening for the death of Dantsy de Büchuer.

Procession is essentially a slow march. I envisioned describing a slow-moving procession moving past a fixed location with an unrelenting motion toward a foreboding destination. The work is in three parts, with the faster midle section at twice the tempo of the slower outer sections. The piece is scored for three synthesizers in live performance. Two of them play a sustaining timbre, with a rich sound containing many harmonics. The original sound I used was a mix of stringlike and brasslike timbres, but any rich sustaining sound will do. The other synthesizer plays a sustaining tubular bell sound, rather like a tuned chime, but extending over a much greater range than conventional chimes. The piece was written in Tuscaloosa, Alabama in 1989, when I was a visiting professor at the University of Alabama.

Pathways seeks to explore ways in which two traditions of music making may come together, neither losing its own characteristics yet the two together creating new possibilities. I have chosen the medium of electronic interactions and transformations to explore the relationships and to develop common ground. There is so much in common in the wealth of the internal workings of the sounds themselves and at the same time a contrast in the traditions of performance practice. In Pathways I have attempted to exploit this apparent contradiction. The work is continuous but in four sections modulating through tonics A, G, D, and C. Elements of the notated materials are drawn from a rag chosen as appropriate to the performance circumstances in the traditional manner (thus many other versions of the work are possible). For this performance the raga Hori Kafi has been chosen; a short version is integrated into the work in the third section. (The full title is thus Pathways with raga Hori Kafi for this version of the work.) This material is worked into a larger scheme of melodic and harmonic relations which seek to relate the two traditions. Pathways was commissioned by Shiva Nova for performance in their …

This piece was produced at Rapp's CEM Sound Laboratory. From the "Cuadros Sonoros", recordings composed by Judith Akoschky with "Cotidiafonos" (instruments of her invention built with daily objects), this work is approached with preexistent materials but without devaluating their strong evocative load. Diverse spectral transformations and temporary superpositions give rise to new evocative pictures in which sonorous images of a dream like character alternate with other "more real" as through in a kaleidoscope. In the end, the sounds evoke a distant childhood with nostalgia.

Prior to composing "Deep Mountain", I wrote, in cooperation with my professor, Keith Hamel, procedures in the "object logo" programming language which would allow me to experiment with digital synthesis on a Macintosh computer. Following the completion of many similar timbres (most being short and having metallic or pizzicato string-type characteristics), I loaded these sounds into the Sound Designer program, for further manipulation. From "Sound Designer", the sounds were sent to the Akai 5-900 sampler, after which I could begin composing. No digital effect or sound processing is used anywhere in the piece on an extra-musical level, "Deep Mountain" is a story of mountains both natural and psychological, though there many be many more interpretations, which I encourage. A number of tracks were purposely mixed well below the other tracks, so that at times one hears or makes reference to a sound which is present, and at other times one imagines he/she is hearing something amongst ther mass of thousands of attacks. "Deep Mountain" was inspired by a painting by Francesco Clemente.

Recording of François Bertrand's Étude aux Vibrations.

Acousmatic staging in three parts and seven fragments: Part 1: Prologue-Darkness; Prologue Part 2: Midnight-Midnight; Hell Part 3: Immemorial-Crossing; Immemorial; Epilogue

The initial spark of the piece struck like lightning when, upon returning to Stockholm from New York, I read Joseph Brodsky's essay The condition we call exile. Though he speaks of authors isolated from their native languages, I recognized immediately many of my own experiences. Unprepared and defenseless, his words struck deep sympathetic vibrations, resonances, and gave a name to a familiar emotional weight which I had grown accustomed to addressing intellectually. I had never considered myself in exile, but now saw in one blinding instant the gulf I had myself created. The music is neither autobiographical nor programmatic. Yet it is unlikely that I could conceive of such a piece had I not lived abroad for so long. Personally I have been fortunate in exile. But there are millions who have not been so privileged. In this sense, Exile and Life Close to the Horizon (1989) is both a deeply private experience, and a kind of public "cry in the wilderness." Personally, I came to view the act of composition as an act of purification in artistic form. For, by naming my condition, I have become a freer being. I also declare my solidarity with the multitudes of men, …

"Still life with piano" began with the composition of a short piece for piano. The tape part was made by computer-processing the sounds of this piece while the solo piano part draws upon and extends these materials. The composer attempted to create a relationship between the two parts in which aspects of the same musical entity evolve in different dimensions. The computer acts as a kind of microscope, capable of vast distortions and expansions of time and spectrum, while the real piano persistently articulates these explorations and puts them in the perspective of its own personality. Thanks to James Moses for his engineering of this recording.

Pour la Terre is a "tone poem" whose title and, more abstractly, its content refers to concerns over the current condition and the future fate of the planet. The second section evokes a sense of anxiety, while the third may evoke a sense of doom. This work is in three main sections: an introduction, a longer second section which begins like, but expands the musical materials of the first section, and a shorter third section which serves as a sort of negative image of the main middle section. Pour la Terre is a for computer-generated tape alone. It was realized at IRCAM during 1988-1989. It was the first and (as far as the composer knows) the last major work to be realized with the SUN/MERCURY computer-music workstation, an environment developed by Rodet based on a Sun Computer and a Mercury ZIP array processor.