Recording of Teresa Rampazzi's Requiem per amanda. Key musical features include two female voices in an echoing pattern and synthesized sounds.

Recording of Antero Honkanen's "Monastery in snowfall."

Recording of Gottfried Martin's Pax for tape. Includes electronic and natural sounds, including voice, news recordings, and recordings of war sounds.

Recording of Trevor Wishart's Anticredos performed by Trevor Wishart. It is a live-performance piece for six amplified voices using extended vocal techniques, but no electronic modification of the voices. The piece, commissioned by the English group "Singcircle," takes the word "Credos" and slowly dissolves and changes its sound-constituents through processes of gradual transformation. This recording is a studio version of the piece "sung" entirely by the composer.

Recording of Iván Patachich's "Pacem mundo" ("World Peace") for tape. Uses both concrete and electronic sound materials. The piece begins with a vocal ensemble with a soprano soloist that eventually becomes noticeably electronically manipulated. From then on, the piece switches between the vocal ensemble and other electronic sound material.

Recording of Zoltán Pongrácz's "Laus stultitiae" ("Praise of folly") for baritone and tape.

Recording of Philippe Ménard's Rep-à-quatre. This piece is inspired by François Rabelais and his satire, grotesque, and bawdy jokes and songs. On a technical level, most of the sound material comes from samples of the texts (ASR 10 sampler) and the musical organization is managed by the MAX software, my improvising assistant.

Recording of Roderik De Man's Mensa Seecunda. This work is a multimedia project realized by Jorge Isaac, a recorder player, and a performer. This piece involves dance, video projection, and live electronics. The subject is the life of the ambitious Roman masterchef, Apicius, who sacrifices everything to find the perfect recipe.

Recording of Ivan Pařík's In memoriam Ockeghem.

A recording of Roderik De Man's Chordis Canam. De Man composed Chordis Canam as a tribute to Annelie de Man and to Sies Bleeker. All sounds, except one, were derived from this harpsichord, no other equipment than microphones and tape recorders was used.

Recording of Robert Andrew Mackay's Eleventh of the ninth, two thousand and one. This is a work for electronics that includes spoken word as well as environmental sounds that reflect the tragedy of 9/11. There are also samples of the piece "O Fortuna (Carmina Burana)" by Carl Orff.

Recording of Juan Manuel Marrero's Come la voce della coscienza.

Recording of Miklos Sugar's Pater noster. This work was composed for the female choir Musica Nostra and its choirmaster Zsuzsanna Mindszenty. The vocal material in the piece is comprised of four voices that undergo electronic transformation. The special effects were made by the YAMAHA REV5.

Recording of Radek Rejsek's Carmen campanarum. This work is an electroacoustic fantasy created from the sound of bells and vocals to the words "Deo gratias". The composer also used sounds of clockwork to symbolize the flowing of time while the bells act as a hymn to God as thanks for our existence. This work was produced in Audiostudiu Czech Ragio in Prague.

Recording of Luigi Ceccarelli's In Die Resurrectionis. This is an electro-acoustic installation for the basilica of San Vitale inspired by the 12th century sacred musical tradition of Ravenna. This work was commissioned by the Ravenna Festival. The composer describes this work as his exploration of the relationship between music and spirituality, using Gregorian chant and traditional choral music to emphasize this.

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 Eric La Casa's Ouroboros 5.

Recording of Henri Heuze's Le sacerdoce et le curé d'Ars.

Recording of Roland Willmann's Salve Regina. The Gregorian chant Salve Regina was the starting point of this work in which we tried not to alter the original form but to follow it and support it in its formal and expressive course by means of electronic sounds. The use of the initial motif in the end corresponds to the cyclical form of the chant itself. The repetitive formulas, mentioned in the chant, are another structural element that grow in 3 echo plans.

This piece was composed in honour of the death of Salvador Dali, the surrealist painter, who shares my birthday. The piece attempts to musically interpret and transliterate the techniques and aesthetic of surrealism. Digital "samples" (analogous to photo realistic images in painting) are taker out of context and modified or "warped". Use of the traditional Latin requiem text reflects Dali's use of religious imagery. All sounds on this piece are produced by voices, human and animal; including Dali's own voice describing this obsession with death.

Recording of John Levack Drever's Cloud of forgetting.

Recording of Jozef Malovec's Ave Maria Stella. Ave Maria Stella has been sung in monasteries from the Middle Ages to the present day. The lyrical poems have undergone various musical adaptations from the Gregorian choirs to popular songs, by numerous anonymous authors. The lyrical poem has a philosophical and spiritual orientation. This electroacoustic composition is inspired by the Ave Maria Stella made using electroacoustic sound transformations, embellished with quotes from different versions of this song.

Recording of Alessandro Cipriani's Aqua Sapientiae/Angelus Domini. This is the 5.00 short tape version. For electronics, pre-recorded sound, and manipulated voice and Gregorian chant.

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