Recording of Max E. Keller's Grundgesetze III. "Grundgesetze III" is the third part of a six-part work begun in 1975. Sections I and IV were realized as orchestral pieces. Lyrically, the work is based on the confrontation of ideology (for example, the constitution, that is, the "Basic Law" of the FRG [Federal Republic of Germany]) and the reality of bourgeois society. In "Grundgesetze III" the federal government processes a text about the so-called social market economy, while two other speakers present some information and a realistic dialogue. If the social market economy promises people paradise on earth, then the setting adjoins the dull reality: the colorful life has given way to a mechanical, absolutely regular beat, which was realized electronically, which thus lacks any inner life. This hammering also reflects what characterizes pop music and gives it an intoxicating effect, but occurs here naked and without drapery, no longer narcotic, but irritating. Like the rhythmic parameter, the pitch parameter also adjusts, with 19 different pitches distributed over the listening area at absolute regular intervals forming the basic chordalization of the chords. In other words, it is a 19-note chord built on a regular basis from which one single note is …

This work was created from a story entitled "The Confession" that I wrote in 1989. In Spanish originally, it was translated into Hebrew, French, English and German. Some of these texts in different languages have been integrated into the work. "Confession" records the psychological oscillations - from mental stability to madness or vice versa - that the protagonist goes through. "The Confession" of the human voice, the electronic instruments (synclaiver), the acoustic instruments (harp, trombone, cello, flute, percussion) and the concrete sounds create a semantic interaction with the syntax of the musical language.

Recording of Jürgen Bräuninger and Ulrich Süsse's Le bass de auf a bourges du dat. It is a work for saxophone, bass clarinet, and electronics. There are speech snippets which are accompanied by free improv from the saxophone and clarinet, while processed and manipulated recording of these instruments play in the background.

Recording of Elizabeth Anderson's Mimoyecques. The piece consists of two sets of recordings and electronics. One set of recordings would be made in and around the fortress and would serve as the base where the imprisonment, death, and transfiguration themes would be built. The second recording is in the languages of the 18 nationalities of the laborers. The central section of the work illustrates the idea of terror freedom is suddenly, inexplicably removed. The final section explores the concept of the departure of the souls of the victims.

Recording of Hans Ulrich Humpert's Die chore der andromache. This work is made up of five sections which are made up of electronicly-processed voice and electronics.

Recording of Lothar Voigtländer's Le vieux chant pour la cathédrale. This work uses synthetic sounds to produce a soundscape with bells, whistles, and harmonic metallic sounds. Accompanying the electronics is voice, which explores a wide variety of vocal range.

Recording of Hans Tutschku's Sibeben Stufen. This is an electro-acoustic composition based upon the poem "Verfall" (decline, decay) by Georg Trakl. All the sounds are derived by manipulations of two recordings: the poem spoken by four different voices (German and French) and four chosen German main-words sung seven different pitches and the same for the French speech. The piece is structured in 7 parts which each represent at once an approach and distortion of the text.

Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.

Recording of Blas Payri's Unheimlickes wasser. This work uses spoken word, electronics, and pre-recorded sound to create a sonic environment which tells a story and holds suspense.

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 Lutz Glandien's Fear of flying. This is a work for electronics that consists of plane sounds and spoken word.

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

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 Lothar Voigtländer's Spring in Berlin. This is a work for electronics that samples many concrete sounds from around Germany.

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 Lothar Voigtländer's 3 elektronische Studien. The basis for the composition are the poems of the poet Erich Arendt. The poems were written around 1925 in his Expressionist creative period. Accordingly, the compositional means: concrete musical material is mixed with electronic sounds to achieve a strongly expressive and suggestive associative effect. It is less thought of as a "setting" of the texts, but should be added to the often strongly symbolic language formulations as a different, musical dimension. The vocals and the piano usually work live. The piano is mostly treated as unrecognizable - this is to achieve a seamless insertion into the electro-acoustic sound material. In a performance, both piano and singer can be electro-acoustically amplified and to a lesser extent technically manipulated (reverberation, iteration, etc).

Recording of Lothar Voigtländer's "Variation und collage" for voice and tape. The text is from a poem by F. G. Lorca. The human voice serves at primary sound material (murmurs, screams, editing, deformations). There are few synthetic sounds that were created through the use of the ARP synthesizer.

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