Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.

"Alternances" for violin, clarinet, piano, percussion, cello and tape was written in 1985, the electroacoustic effects being made in the studio of Romanian Radio-Television. The room consists of seven sections, including sections 2, 4 and 6 on tape. The 6th section on tape and "life" is the recurrence of the second section, of the same existing correspondence between sections 1 and 7, 3 and 4. The dominant idea of ​​the work is that of the imbsication of parallel music, with particular character and evolution. The music "life" is transformational, while that recorded in advance is non-transformational and has the appearance of a sound plasma; the first is discontinuous and the second - continuous. From the expressive point of view, the sounds "life" suggest belonging to the world of appearances; on the contrary, the sounds recorded on tape suggest a world of essences, permanence.

"Anamorphées" was made entirely from a single instrument (saxophone) of five seconds, processed in computer delayed time. The basic instrumental sequence is presented, isolated before the play for the jury. The use of a reduced original material makes it possible to carry out a real "genetic" work of sound and musical development where each stage of treatment is an opening towards other possible ones. From mutations to successive mutations, the resulting sound objects are diversified, progressively or radically different from the basic model, becoming themselves the starting point of a new tree generation of transformations, then developed and organized in sequence by micro-operations. montages, tiling, brewing ... Some terminal sounds are separated from the basic sequence of a considerable number of transformations (sometimes more than thirty), something unrealizable without technical problems (support) in an analog studio. Just as impossible, carried out traditionally, are the operations brought by certain programs dealing with the temporal order allowing extremely complex micro-assemblies going below the only ones of temporal perception until the organization of whole sequences, making pass the anamorphosis of the detail to the composition. The anamorphosis is also of musical order - to take a very conventional instrumental sequence: legatissimo and rapid …

In this piece, the digitally constructed voices, 13th root of 3.14 tuning and distorted piano all combine to create a sonic field at first curious and finally frightening. It is the composer's intention to bring to mind not only the anguish of interminable war but the ambiguities of life for those whose mother country is so afflicted.

Commissioned by the Kansas City Civic Orchestra, Glenn Block, cond.; Premiere: Electronic Music Festival; Kansas City Conservatory of Music, 10.13.85 MS

The title "Before the Sea of ​​Glass" refers to a scene described by the Apostle John in his revelations. Having reached Paradise, he sees a throne surrounded by a rainbow from which flashes, rumblings, and thundering sounds start. Around the throne there were twenty-four old men in white, four strange winged creatures covered with eyes, and angels in great numbers. Each in turn worshiped the one seated on the throne. A myriad of diverse creatures united in the same act of worship: a scene at once majestic and sublimely peaceful. And in front of the throne in the midst of this adoration is "what looks like a sea of ​​glass, clear as crystal". The music is based on three types of material: a buzzing of the strings, melodic circles derived from the strings and bell-shaped bell tones in contrast. They were all produced on the EMS 100 synthesizer. The buzzing between imperceptibly through a series of inversions and varied spaces, to evolve into focal point of the climax. The melodic circles are formed by a "sweeping" filter that illuminates the harmonics of the buzz. United by a common source but distinguished by different rhythmic times and patterns, they intertwine each …

"Berceuse pour Emmanuel" is a command from my wife to make our son Emmanuel sleep.

Miniature of a time process between five and nine in the morning. Dedicated to the Orgel Draaier, the men who carry their Barrel-Organ through the streets of Utrech.

This piece is a band-only version of "The Other Shape", for a percussionist and band, whose composition was screened mainly on antinomies. Between the short and the long, by example; short and resonant sound; the dry and the reverberated, or the lying down; the continuity of silence or holding, opposed to the explosion brutal and ephemeral percussive sounds, etc. Like in many others pieces, this dialectic had led me to a form typically segmented and punctuated, simple and bare. These antithetical elements are less apparent in the present version, mainly because of the absence of games played by the percussionist in the original piece. Also the shape is it less sharply cut. Some elements, and whole sections, are deleted; some items are moved. The order of exposure is recomposed in another perspective, and the realization of the mix, more tight and raised, meets the requirements of the solo band. The vast majority of sounds come from recordings of real percussion instruments. They are presented "nature" or variously transformed (timbre colorings, modulations dynamics, lengthening, reverberations, etc.). Continuous textures are composed of outfits reminiscent of the stamps of certain percussions (wood, skins, metals and bells). Towards the end of the room, brutal …

Recording of David Jaffe's Bristlecone Concerto No. 2.

A recording of Juan Marcos Blanco's Caballos.

For four channel computer synthesised tape. This is a stereo version. This work was composed at CCRMA (1985), Stanford University, using the Samson Box digital synthesizer and the programs to control it written by Bill Schottstead. The structure of "Canales" results from the combination of opposite aspects of rhythm, pitch and timbre such as rhythmic/arhythmic, consonant/dissonant and harmonic/inharmonic. Rhythms and pitches were selected with regard to recent theories in psychoacoustics (Fraisse, Plomp, Rasch and others). Timbres were synthesized using frequency-modulation techniques. All variations and combinations of parameters were carefully controlled through time in order to get a maximum of variety and richness. Programs were written to allow the computer to amplify my musical ideas and even my imagination. The title, which means "canals", refers to my work of "canalizing" the parameter stream.

After my first experiences in musique concrète, and even more so, when I started using the computer for music composition, I wanted to be able to compose the sound material , as I composed the structures when I wrote "notes" for instrumentalists. Our first researches, from 1976 (by means of a microprocessor that we had procured for ourselves), were done in this direction: to put the sound matter in memory and to fragment it so that it became "reflowable". The microprocessor of this era providing little computational power, it was necessary to imagine sound-efficient methods, but inexpensive in calculation - and we then formulated and exploited the method of "zero crossing". Indeed, by sharing the sound in small isolated waveforms, each having the property to start and end on the zero axis (energy equal to 0 volts, corresponding to the rest position of the speaker's diaphragm) ), it is possible to glue these shapes together in any order (so to compose from a given set of elements) without losing too much of the sound quality (spectral content) of each element.

This is a fun piece and should be enjoyed by both the instrumentalists and the audience. The idea of the work is obvious from the name, "Carousel". Labels run our lives – who, what, where we are and so forth. Minimalism, Maximalism, Expressionist, traditional. All these labels have different meanings according to who is listening. Not mentioning the importance of where the listener is from. This piece should be listened to, and not labeled. It is conceived fro the Electro-Acoustic Concert Environment, and the colors here are painted for your ears. Enjoy.

Thoughts come tumbling in, unordered and often without any connection with the composition no which you are working. This was also the case during the time I was composing my Ritournelles for soprano and computer. A flood of material and studies came into existence which could not be fit into my Ritournelles. From out this material resulted in my piece "Chants Magnétiques" on January 20th, 1985 in two hours by writing a command string at a high tempo and reading it into my MIDIM system on the PDP-15 computer. The piece was immediately recorded on 4-track tape and no corrections were later applied. It had its premiere two days later on January 22nd, 1985 at Muziekontrum Vredenburg in Utrecht.

"Chromatonal" is an exploration of the twelve intervals in the tempered scale. The music contains twelve sections, each of increasing length - the first is 10 seconds, the second is 20, the third is 30, etc. Each section concentrates on a particular interval and is punctuated by a "spatial" sound. The sections alternate between melodic and harmonic textures. Pitch classes are devised up into two groups as follows: Group I – a-flat(8), g-flat(6), b-flat(10), d(2), d-flat(1); Group II – e-flat(3), a(9), e(4), f(5), c(0). The sections alternate their focus between both groups with Group I being harmonic and Group II being melodic, however, pitches from each group are used for harmonic purposes in all sections. The pitch class dominates both melodic and harmonic content. Therefore, the first section is harmonic and based on minor sixths, the second is melodic and based on minor thirds (and so on …). Since there is no harmonic movement within sections, the rhythmic complexity increases to produce a sense of forward motion. As the music becomes more rhythmic, phrases become more jagged and the sound less reflective. The creation of this piece would not have been possible without the cooperation of the staff at CCRMA …

Lily, how is she? She is sweet, she is cute ... very delicate. Melancholy sometimes: she is ticklish Irritable ... she lets herself die, burned by the flames.

Recording of Takehito Shimazu's Composition 16.

The different harmonic parts are gradually faded, in favor of masses of stamps that contrast in height. Micro-events punctuate them.The rhythmic part that follows is based on a new series, which in turn goes down to silence (13 ''). New micro-events occur and reappear the first series which in turn allows the melodic line to reappear. Melodic line that is fixed with a double, out of order, and which will gradually highlight its own variations that interact with natural sounds (voices and laughter). This piece was done at IPEM.

This work was composed in 1985. It uses voices recorded in Japan and Thailand, hence the title of "Conversation", although the voices are generally used in a more musical than semantic way. The instruments respond to these voices in different ways during the course of the work, which also gives it a conversational character. This work can be considered as a continuation of "Orchestra" and "Ten Temperaments" in that the image of the sounds resumes the orchestra like a prototype. The recordings of votes were made by Lennart Wretlind.

"Corale quasi une fantasia" (or more correctly "Fantasia quasi une corale") was composed in July 1985 at the Electronic Music Studio in Cologne. My goal was less to compose a "work" or a "piece", than to do ten minutes that I would like, and if possible that you would like too.

I is the opening part of my Polish trilogy, an electronic romance for synthesizers and loudspeakers. It is meant to be performed outside in the nature giving thus the surrounding town and landscape architecture to modify its original instrumental voices. One of its most beautiful performances it received in Matera the south Italy where it«s voices were echoing behind the cabyon splitting the town. Later this piece often has been used as a small romantic "opening the ears" entry after which the strong voices of war performance made by ProTon Sonic Art group have made extremely strong influence. "Cracovie mon amour, Cracow mon amour" (comparison; Alan Resnais: Hiroshima, mon amour) is dedicated to my wife Agnieszka. Realized partly at Cracow Music Academy«s electronic music studio partly in YLE Experimental Studio, Helsinki.

The result of a long stay in the city of Cuenca during the summer of 1985 and a reflection of various experiences. In the first place, the influence of the city and its impressive landscape is undeniable. In addition, I wanted to pay a cryptic tribute to the writer Villiers de L'Isle-Adam: his short story The secret of ancient music, which is part of his cruel tales, awakened in me the fascination for this unusual an instrument of the nineteenth century called "Chinese hat", fascination that led me to build myself a sophisticated version that I called "big Chinese hat" because of its considerable dimensions. This instrument is the origin of agglomerates of concrete sounds that collide, move, disintegrate and blend together with other sounds of electronic origin into a magical mix throughout the work.

Recording of José Vicente Asuar's Dans le jardin.