Recording of Yves Daoust's Ouverture. This is a work for electronics.

Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.

Recording of Marcelle Deschenes' Nous. Electroacoustic composition utilizing various voices (including human and robotic variations of deeper- and higher-pitched voices) in both English and French alongside percussion, electronic noises, and ambient environmental sounds.

Recording of Eric Cordier's La Ligne, La Corde. It is for voice, string instruments using contemporary techniques, and electronics.

Recording of Léo Kupper’s Rrrévolution. This piece uses the sounds of drums, revolutionary songs, horse, and sounds from war. The piece is centered around five songs; Ça Ira, La Carmagnole, La Complaite de Louis, La Guillotine, and la Marseillaise.

Recording of Christian Calon's Immémorial, part 3 of Midnight, acousmatic staging in three parts and seven fragments.

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.

At the beginning of 1989, the Experimental Music Group of Bourges asked me to contribute to a project of international composition to celebrate the 200th anniversary of the French Revolution. While I was trying to find a favorable angle to the approach of the project, I felt with more and more repulsion the chauvinistic harmonies of the official celebration of the French Revolution. In any way, I loved France, how could I participate in the celebration of a nation that even in the 200 years of the Declaration of Human Rights continued to try atomic bombs on the Atoll Mururoa in the South Pacific? My participation became a lament for Mururoa, and I did not send it to France until after the end of 1989. The creation of "The Lamentations of Mururoa" should have taken place by the sea, with two speakers in the water and two others on the beach behind the audience, the soloist standing at the edge of the water. Unfortunately, a thunderstorm canceled the project and this creation took place in a quiet location on the coast of Lolland, the island where I live. The piece is for soprano and four-track tape that includes an electronic …

The last few years have witnessed the appearance of highly-specialized fast microcomputers capable of synthesizing complicated spectra in real time. The establishing of MIDI communication protocol provided a precise and efficient way of controlling them by means of such devices – familiar to every musician – as keyboard, violin or drum. Implementing high level language compilers in micro-computers created the possibility of using them for generating non-trivial streams of MIDI signals, significantly enhancing the performing capabilities of humans. And since everything is happening in real time the performance nuances of pitch, dynamics and tempi of the piece can be controlled during the playing. It seems that this new technology will allow to overcome the rigidness of tape – an ultimate form of musical recording. All electronic sounds used in Concertino are generated by two Yamaha TX816 digital synthesizers. MIDI signals are produced by a Yamaha KX88 keyboard and a MacIntosh computer. The program collaboration in controlling the synthesizers was written in LeLisp at IRCAM, in the early months of 1987. France is also responsible for the Dorian flavor of the piece since all the music was derived from L'Homme arme – a fifteenth-century French song. The saxophone part is written …

Orchestra concert performed at the UNT School of Music Concert Hall.

A guest artist recital performed at the UNT College of Music Recital Hall.