Recording of Joaquín Orellana's "Imagones d'une histoire en redondo (imposible a la equis)" for tape.

Recording of Jonty Harrison's Eq for live saxophone and tape. It is the third in a series of works that features saxophones. This piece like the others, is also concerned with 'cu' (here made manifest by the interaction of live saxophone and recorded sounds on tape), 'Q' (a filter is used to sweet the producing melodic material out of static harmony) and spatial articulation. 'EQ' is studio slang for 'equalization - a more sophisticated version of the treble and bass controls on a domestic hi-fi system and a fundamental device for sound modification in the studio. EQ was commissioned by John Harle with funds made available by the arts Council of Great Britain. It received it's first performance in the Purcell Room, London in November 1980. The tape was produced in the Electronic Music Studios of the University of New York and the City University, London.

Recording of Costin Cazaban's Naturalia for piano and tape. Circular games on the harmonic sounds of the totally linear solo piano part. The direction of the music shows the process of disintegration on the environment. The idea for the work was aroused by the myth of the Sister of Albert Camus.

Recording of Pierre Barbaud's Inspiravit Aeolus. During the months of July - August 1979, Barbaud did his holiday homework on the island of Panarea, which is part of the eight Aeolian Islands in southern Italy. The title refers to the character Aeolus from Homer's Odyssey who is the Keeper of the Winds. In the hours of siesta, he blows with great gentleness on the bougainvillea; this is the inspiration for all of the algorithms in the piece. After returning to Paris, Barbaud asked Frank Brown and Geneviève Klein to provide the sound sampling program in data that did not provoke violent attacks. A poor telephone transmission during a first experiment, was the cause of a crash that did not lack beauty. The following communications were normal, and everything from those transmissions were kept in the piece.

Recording of Kim Dyett's Refraction for tape. The piece is composed from words that are twisted and transformed moving from meaning to sound images.. The work was inspired from poems by E. E. Cummings.

Recording of Charles Clapaud's Mouvements et formes.

Recording of Jaap Vink's Neap Tide. Neap Tide is the last part of the bigger work "Tide" and can be considered an independent composition. Tide is based on Vink's preference for recursive processes, which stemmed from the fact that the material is directly accessible to the composer who can therefore stimulate the expressivity of the sound. While sounding complex, recursive sound means sound and its derivative can be, if desired, recorded on top of each other in one action so that the sound structure becomes more or less closed. This depends on the external intervention of the composer. The derived sounds provide the coloring. This coloration can happen quickly or slowly. For "Tide," Vink chose the latter because the tide is also a relatively slow process which requires about 6.5 hours for completion. In order not to try the listener's patience too much, "Tide" is about 45 minutes long, "Neap Tide" being the 20 minute ending section of the work.

Recording of Bernard Gagnon's "Gwendolyne descendue !" for tape. Gwendolyne is an underground comic character from the 1940s. Read first glance, her adventures only seem to be excuses for exploring the possibilities of bondage, but the unity of style pervading even the smallest symbols and the obstinate repetition within the strict limits of a closed world gives them an esoteric aspect that inspired the piece. It tells the story of the forced disappearance of the heroine. The piece is dedicated the Gwendolyn's creator, John Willie.

Recording of Sten Hanson's 96. "According to Amnesty International, there are 96 countries in the world that have political prisoners. In most of these countries, there is clearly physical or mental torture that is punishable by law and unlawful killings." Sound material includes sounds of doors shutting, locks locking, bells, ringing, etc.

Recording of Martin Rudolf Schwarzenlander-Fischer's "Chacoel (Musik für den frühen Abend)" for tape.

Recording of Pekka Sirén's "The genesis of Kazan" for voice and tape. The composition is based on the Finnish text of an old poem of the Mordovian people. It is a mythological folk tale from that culture. After encountering the tapestry collection of A. O. Heikel which portrayed the Cheremis and Mordove peoples, Sirén was inspired to think of a new musical notation and to set one of these tapestries to music. He chose the poem "The Founding of Kazan" from the "Heimokanne" collection published in 1930 and translated by Otto Manninen as the basis of the composition. Sirén's goal was to depict not only the cultural history but also to research the dramatic expression of the actor. who plays four characters: the narrator, Marja, the father, and the mother. The differentiation of these characters is in the form of sound material that is subject to many stages of modifications. The piece was realized and recorded at the Experimental Studio of Helsinki Radio.

Recording of Kevin Jones's Ice breaker. Jones had just traveled from Helsinki to Stockholm by boat across the frozen Baltic Sea, which had been made more difficult due to a strike of icebreaker crews. During the crossing, the magical and mysterious sight of distant plains of ice reflecting the ship's searchlights contrasted strongly with the occasional violent thrusts of the bows ramming into thickly packed ice. The "ice breaker" concept also extends into the interpretation of breaking ice in social relationships. The piece builds up into a succession of waves or thrusts, which eventually break through into a teasing catharsis. A doubtful release unravels in an extended coda. It was realized at the studios of EMS (Electronic Music Studios) in Stockholm, Sweden in March 1980 on a PDP15 computer employed to control a bank of oscillators.

Recording of Teresa Rampazzi's Atmen noch. After many months of researching the relationships between harmonic or better harmonic spectra, this piece was the result of that research. This research was done jointly with Rampazzi's student Maria Luisa Bon. The form of the work is sets of stamps and association between them and a Grecian-inspired Cantus Firmus. The groups are figurations of galaxies out of time.

Recording of Józef Rychlik's Just Behind the Horizon for tape. This music, composed "without filtering", uses a range of timbres made by different programming of the values of heights, time, intensity, and specific acoustic music reactions for some kinds of impulses. Each motif, even in the second polyphonic part, are made of several layers. Each layer is an "automatic game sequence," which allows for the process of semi-automatic composition. Along with this idea, the ability of this piece to go beyond the nature of this apparatus and to compose a work that is independent of the "natural aesthetics" given by the machine is a key foundation of the piece.

Recording of Boyko Stoyanov's C.A.S. Stoyanov was inspired by the interpretation of Chopin's Op. 30, no. 1 by the Japanese pianist Rikako Akatsu, performed at the Chopin Piano Competition in Warsaw. In this work, the composer wanted to create a unique form, the basis of which provided by the electroacoustic music.

Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.

Recording of Paul Pignon's Mechanical cartoons. On the Synthi 100 it is possible for the composer to patch complex systems which can generate musically acceptable trajectories even without control gestures - these are called "organic machines" by Pignon, because they are like beings with an independent life manifested in sound. An important feature for the overall structure of the piece is that one of the organic machines, which has a central role within which the characters of the cartoon act out and are subject to the influence of a previously defined rhythmic pulse train. Although this rhythmic structure is nowhere obvious, it nevertheless biases the overall form.Of the four "voices", the first is the setting already mentioned, featuring richness and variety of sound objects while being rather static in space. The second and third are quasi-human-animal voices that are very mobile in space. The fourth, also mobile, Pignon imagines as a monstrous bird-like figure, although it too occasionally exhibits humanoid characteristics.

Recording of Andrew Newell's "The thin edge of the wedge." This is the first piece in a triptych of pieces. It is orchestrated for seven electronic instruments, which were realized on a Buchla 200 series synthesizer. The concept behind the music concerns itself with man's position in the world today, which the composers sees as a very dangerous one, with possible self-destruction close at his heels. This piece is as one voice "crying in the wilderness," not meant to soothe, but to alert his fellow man to the evil that seems so near. The piece divides into two large sections which are then subdivided four plus three into subsections. The last subsection is a direct contrast to the first both in context and in attitude. The pitches are based on a number series that derives from the fractional part of the ratio of partials 8 and 7, but this is not a serial piece because the above-mentioned series is used primarily as a series of central pitches around which a random distribution of pitches revolves.

Recording of Mauro Graziani's The silent god. It is a sound processing work, no synthesized sounds are involved. The beginning sound materials are sounds often used in religious rites and ceremonies, hence the title. Sound material includes: Japanese gongs, Tibetan and Chinese bells, Tibetan trumpets, gamelan, Indian and Middle-eastern harp, western organ, aeolian harp, voices. Processing includes filtering, time and/or pitch changing, delays, freezing, cutting, and mixing. The work was realized at the Centro di Sonologia Computazionale" (University of Padova) in 1980, using the IBM 4381 mainframe and the MUSIC360 software for digital sound synthesis.

Recording of Reed Holmes's Chalumeau Rain. The piece demonstrates the composer's concept of music as sound flow (a texture existing in time and space). For this reason, many of the clarinet sounds assume a gestural/electronic character. Chalumeau is a lyric expression of the electronic medium. The composer unites the live and electronic by using live clarinet sounds in the tape which have been manipulated by tape loops, reverb, phase shifting, reverse playback, amplitude modification and filtering. All pitch material is derived from a five note collection. Pitch material is developed by mains of various contours. Ascending, thrusting pitch series are expositional or developmental. Arch shapes exhibit stability and a relaxed character. Descending pitch contours provide or signal closure. Assignment and occurrence of these structural functions in Chalumeau is not simple. The composition grows from an interaction and mutual influence of the pitch and gestural ideas; often one idea dominant and others are struggling to predominate. Momentum and directed motion are additionally achieved by rhythmic activity and textural manipulations.

Recording of Þorsteinn Hauksson's Études 1 et 2.The two etudes are the first works based on research carried out at the Institute for Research and Coordination in Acoustics/Music in Paris for more than a year on the techniques of organization of harmonics in composition. The goal was to find a coherence of composition between micro structure (harmonic structure) and macro structure. The pieces are the first text of using computer programs as a result of the study.

Recording of Elżbieta Sikora's "Lettres à M" ("Letters to Mr."), for tape. The composition was a commission from the studios of the Polish Experimental Radio in June 1980. These "letters" were not written for Mr., as Mr. does not represent any person, and any association to any particular person is purely accidental. However, these letters have had to be materialized because of the composer's need to give form to an unexamined idea. Therefore, Mr., whoever you are, Sikora awaits your answer to these letters.

Recording of Ricardo Mandolini's Estallido Breve. The piece tries to develop in a progressive yet minimalistic way the repetition of a percussion sound, of which the tiniest variations are in the first few milliseconds of the attack. This attack always follows a long extinction, which is also affected by minute changes. The addition of a second kind of sound material, a perpetual crescendo/accelerando, contributes to the accentuation of the dramatic character of this ostinato. The ostinato ends in an explosive short resolution, which explains the title chosen for this piece. The piece was composed in 1980 at the Institute for Systematic Musicology in Ghent, Belgium. It is stereophonic. The piece also existed as a mixed version (Estallido Breve II) for electroacoustic tape and bass clarinet.

Recording of Robin Julian Heifetz's The harvest of sorrow and loneliness. This work is elegiac in character and is best summed up in the following poetic passage from Thoms Wolfe's "From Death to Morning": "There has been... loneliness enough... to crust (my) lips with its hard and acrid texte of desolation... (For I had) heard the... music... crying and singing a strange and bitter prophecy of love and death... (and I had seen) my brother... die in the dark in the dark mid-watches of the night, and I (had) know... the figure of... Death when he had come..." The piece was realized during a period of the composer's depression and proved to be a cathartic experience for him.