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 Christopher Rolfe's The answer which the court give you. The two sections here were excerpted from a longer work for piano and tape. The text material is drawn from documentary recordings of oral arguments before the U. S. Supreme Court, and processed by various resonant synthesis techniques (Karplus- Strong, convolution). The piece sonically depicts that public speakers are fundamentally creating music.

Recording of Terje Winther's BE. This work is based on spoken text from Shakespeare and Edgar Allan Poe as well as orchestral sounds written by the composer for a piece made in 1985-86. The composer describes this work as "a piece of transition, of static, and the latent power that lies in the communication between the two".

Recording of Joseph Lloyd Anderson's ChAnGE'S Music. A translation of the composer's words, from a letter to pianist Hadley McCarroll, illuminate that the composer tends "to think of ChanG E S Music as a phonographic fantasy because it plays out in each of Dellaria's three sound recording modes: Record-as-Document, Pseudo-Document, and abstraction. In order to really begin to understand him, I believe the listener needs to have an idea of ​​who [composer John] Cage is and why he is interesting. It is also useful to be aware of the Music of Changes, since the version edited by Wergo is the pseudo document with which my piece begins, and it constitutes one of the first 'silent' pieces of Cage (with 4'33''). It is about the need for the composer's ego to step aside before the music so that it can speak clearly. The pseudo document is fun because it allows us to make someone play what has never been played, and say what has never been said, while passing it off as a kind of auditory truth. Cage's opening text where he puts forward the beginnings of all this using recordings as instruments is actually taken from a statement explaining why …

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 Vladimir Komarov's Composer X.X.X... This piece was composed in 1996, and is constructed on the text of conditions Bourges Competition.

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.

Recording of Simon Emmerson's A la Recherche... Schaeffer's "A la recherche d'une musique conrète" and Proust's "A la recherche du temps perdu" both influence this short study which layers and links materials previously heard in works of the composers "Time Past" series (and its offshoots). Technique from musique conrète were used in this work, sounds of natural origin are recorded and electronically manipulated so that the unprocessed sounds are altered and combined in a musical fashion.

Recording of Darren Copeland's Life unseen. This is a short piece from an hour long radiophonic work entitled "Life Unseen". The text and vocals are by Alex Bulmer. Alex is a writer and actor from Toronto (Canada) who has lost most of her vision over the past ten years. "Elegy" is a celebration of experiences which are no longer accessible to Alex. The many plays of light, shape, and nuance that once consumed are recollected and cherished in both the text and sound composition.

Recording of Joan La Barbara's De profundis: out of the depths, a signe // a different train. This work is for voice, spoken narration, and pre-recorded sound (both unprocessed and process).

Recording of Roland Cahen's Rappel à l'ordre. This is a work for electronics and includes the story of a deep-sea diver spoken in both English and French.

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 Barry Truax's Wings of Fire. For cello and digital soundtracks. This work uses Wings of Fire by B.C. poet Joy Kirstin. In the work, the lover addressed in the poem is personified by the instrument which is also the source of all the material used to create the tape part. This material consists of short fragments of bowing on the bridge of the instrument, natural and artificial harmonics, snap pizzicato, and col legno attacks. The sounds on tape that resemble bowed notes are in fact synthesized using digital resonators that model the behaviour of a string, each tuned to the pitch of one of the cello's open strings. These resonators are used to process both the cello sounds and text such that at certain moments the voice and instrument merge as one.