Recording of Bernadette Johnson's Scyntillisuisse. This work explores the sounds of Swiss instruments, specifically from the areas of rural Switzerland. The composer compares their use of technological instruments with the discovery of fantastical creatures.

Recording of Ruth Glatt's Simmelibärg transfiguration. This work follows the contents of an old popular Swiss folksong, "Guggisberglied". This song tells the story of a mountain which stands as an obstacle between two people in love. The composer has used this folksong and transformed it to explore the idea of what humans and machines have in common.

Recording of Jadel Andreetto's Slow Motion Tarantula. This is a work for electronics that includes German spoken word and flute.

Recording of Frank Corcoran's Tradurre - Tradire. This is a work for electroacoustics that includes German spoken word. It also includes sounds of screaming and whispering.

Recording of Blas Payri's Unheimlices Wasser vol. 4. This is a work for electronics that includes German spoken word and atmospheric sounds.

Recording of Tae Hong Park's 48 13 N, 16 200. This is a work for electronics that includes ambient sounds and spoken German language.

Recording of Peter De Moncey Conegliano's The Mother/In praise of communism. This text in this work was taken from the libretto of The Mother by Berthold Brecht which was itself based on the novel by Maxim Gorky. The composer used rain sticks and porcelain flutes (Pacha Mama) from Mexico to create the sound material.

Recording of Marc Beugnies' Herd !. This work was inspired by the concept of fire in the wintertime and uses sample fire sounds as well as excerpts from Wagner's Feuerzauber. The word "Herd" is used throughout the piece, which in German translates to "hearth" or home.

Recording of Pierre Boeswillwald's Pour la mort de Danton. This is a work for electronics.

Recording of David Berezan's The wall and de panne. This is a work for electronics that includes various vocal sound samples.

Recording of Jean-Louis Belmonte's Odissey. This work was part of the "Synthese" Festival in Bourges.

Recording of Andy Birtwistle's Steel II. This work celebrates and mourns the failure of the Modernist dream represented by poet, Geoffrey Bridson's, 1937 broadcast: "Steel: An Industrial Symphony". It also captures the sound of an optimistic, heroic Modernist in the 21st century and how the new century would sound in contrast to the last.

Recording of Günter Heinz's Berlin views. This work presents the "sound of the city at the end of the century" and arose in connection with the video project Ç Vortex È of Akademie der Künste Berlin.

Recording of Dieter Kaufmann's Dialogue avec Wittgenstein. This work is built on fragments of philosophical text spoken in both French and German, as well as various musical segments by composers Beethoven, Brahms, Bruckner, and the composer himself. The work was produces at the ELAK Institute of the University of Vienna Music and had two premieres. The German version in Vienna (1999) and the French version in Bourges (1999).

Recording of Jon Christopher Nelson's Flights of Fancy. This work, for fireworks and tape, was written as the grand finale to the Grand Opening Concert of the Murchison Performing Arts Complex at the University of North Texas and premiered at the event. The piece incorporates a variety of musical excerpts that were performed throughout the concert as well as sample sounds of fireworks. It was premiered simultaneously with a fireworks display.

Recording of Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

Recording of Ulrich Suesse's Klangfassaden. The title of this work is an installation built into the two front walls of the Museum of Communication in Berlin, made up of loudspeakers that react to passing pedestrians. The theme of this the installation is communication and is built upon different sound experiences. This recording represents one possible "hearing experience".

Recording of Ming Wang's Monsterfest. This work consists of sounds from two different cultures during similar situations. It is meant to explore the idea of people who are transplanted into a different culture and the struggles that come with that. The composer states that the piece has 3 formal parts: 1.) Introduction and variation, 2.) Three-part "song" (A.B.A'), 3.) Covert recapitulation mirrored.

Recording of Frank Schweizer's Songline. This work is made up of 10 untitled movements and contains various concrete and electronic sounds.

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

Recording of Rodrigo Cicchelli-Velloso's Esboco de thetis.

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 David Prior's An die materie. Written for dancer, choreographers, voice, and electronics. The relationship established between the music and the movement, was carefully considered throughout the collaborators. The piece was inspired by a poem by French Jesuit mystic Pierre Theilhard de Chardin in its German translation.

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