Gaia the goddess of earth lost her power and was forced to exile. The human ingenuity is reaching a never seen limit. The existence of the earth is at stake. This work is based on violin, flute and electroacoustic system, the first separate melodies later fusing in transforming tones. Reflections and echo-effects vibrations are giving the final shape of the composition. The work is framed by the prologue and epilogue; the musical spirit of the prologue is enhanced elaborated, in the main part. Summarizing the whole composition the coda reflashes all the important motives.

Is a kind of concert radio art. Concert Radio opening for the death of Dantsy de Büchuer.

Procession is essentially a slow march. I envisioned describing a slow-moving procession moving past a fixed location with an unrelenting motion toward a foreboding destination. The work is in three parts, with the faster midle section at twice the tempo of the slower outer sections. The piece is scored for three synthesizers in live performance. Two of them play a sustaining timbre, with a rich sound containing many harmonics. The original sound I used was a mix of stringlike and brasslike timbres, but any rich sustaining sound will do. The other synthesizer plays a sustaining tubular bell sound, rather like a tuned chime, but extending over a much greater range than conventional chimes. The piece was written in Tuscaloosa, Alabama in 1989, when I was a visiting professor at the University of Alabama.

Pathways seeks to explore ways in which two traditions of music making may come together, neither losing its own characteristics yet the two together creating new possibilities. I have chosen the medium of electronic interactions and transformations to explore the relationships and to develop common ground. There is so much in common in the wealth of the internal workings of the sounds themselves and at the same time a contrast in the traditions of performance practice. In Pathways I have attempted to exploit this apparent contradiction. The work is continuous but in four sections modulating through tonics A, G, D, and C. Elements of the notated materials are drawn from a rag chosen as appropriate to the performance circumstances in the traditional manner (thus many other versions of the work are possible). For this performance the raga Hori Kafi has been chosen; a short version is integrated into the work in the third section. (The full title is thus Pathways with raga Hori Kafi for this version of the work.) This material is worked into a larger scheme of melodic and harmonic relations which seek to relate the two traditions. Pathways was commissioned by Shiva Nova for performance in their …

This piece was produced at Rapp's CEM Sound Laboratory. From the "Cuadros Sonoros", recordings composed by Judith Akoschky with "Cotidiafonos" (instruments of her invention built with daily objects), this work is approached with preexistent materials but without devaluating their strong evocative load. Diverse spectral transformations and temporary superpositions give rise to new evocative pictures in which sonorous images of a dream like character alternate with other "more real" as through in a kaleidoscope. In the end, the sounds evoke a distant childhood with nostalgia.

Prior to composing "Deep Mountain", I wrote, in cooperation with my professor, Keith Hamel, procedures in the "object logo" programming language which would allow me to experiment with digital synthesis on a Macintosh computer. Following the completion of many similar timbres (most being short and having metallic or pizzicato string-type characteristics), I loaded these sounds into the Sound Designer program, for further manipulation. From "Sound Designer", the sounds were sent to the Akai 5-900 sampler, after which I could begin composing. No digital effect or sound processing is used anywhere in the piece on an extra-musical level, "Deep Mountain" is a story of mountains both natural and psychological, though there many be many more interpretations, which I encourage. A number of tracks were purposely mixed well below the other tracks, so that at times one hears or makes reference to a sound which is present, and at other times one imagines he/she is hearing something amongst ther mass of thousands of attacks. "Deep Mountain" was inspired by a painting by Francesco Clemente.

Recording of François Bertrand's Étude aux Vibrations.

Acousmatic staging in three parts and seven fragments: Part 1: Prologue-Darkness; Prologue Part 2: Midnight-Midnight; Hell Part 3: Immemorial-Crossing; Immemorial; Epilogue

The initial spark of the piece struck like lightning when, upon returning to Stockholm from New York, I read Joseph Brodsky's essay The condition we call exile. Though he speaks of authors isolated from their native languages, I recognized immediately many of my own experiences. Unprepared and defenseless, his words struck deep sympathetic vibrations, resonances, and gave a name to a familiar emotional weight which I had grown accustomed to addressing intellectually. I had never considered myself in exile, but now saw in one blinding instant the gulf I had myself created. The music is neither autobiographical nor programmatic. Yet it is unlikely that I could conceive of such a piece had I not lived abroad for so long. Personally I have been fortunate in exile. But there are millions who have not been so privileged. In this sense, Exile and Life Close to the Horizon (1989) is both a deeply private experience, and a kind of public "cry in the wilderness." Personally, I came to view the act of composition as an act of purification in artistic form. For, by naming my condition, I have become a freer being. I also declare my solidarity with the multitudes of men, …

"Still life with piano" began with the composition of a short piece for piano. The tape part was made by computer-processing the sounds of this piece while the solo piano part draws upon and extends these materials. The composer attempted to create a relationship between the two parts in which aspects of the same musical entity evolve in different dimensions. The computer acts as a kind of microscope, capable of vast distortions and expansions of time and spectrum, while the real piano persistently articulates these explorations and puts them in the perspective of its own personality. Thanks to James Moses for his engineering of this recording.

Pour la Terre is a "tone poem" whose title and, more abstractly, its content refers to concerns over the current condition and the future fate of the planet. The second section evokes a sense of anxiety, while the third may evoke a sense of doom. This work is in three main sections: an introduction, a longer second section which begins like, but expands the musical materials of the first section, and a shorter third section which serves as a sort of negative image of the main middle section. Pour la Terre is a for computer-generated tape alone. It was realized at IRCAM during 1988-1989. It was the first and (as far as the composer knows) the last major work to be realized with the SUN/MERCURY computer-music workstation, an environment developed by Rodet based on a Sun Computer and a Mercury ZIP array processor.

(Done at the C.I.E.J. of the Caixa de Pensions Foundation of Barcelona) Selected in the 17 Concours International de Musique Electroacoustique de Bourges, Franca (1989). Encarrec of the Center for the Dissemination of Contemporary Music.

"Around a revolutionary harpsichord destroyed, defended or discredited, the anodyne fanfare - drum - of - the - death - which - us - monitors - without - any - cry. That every limit in the universe is a sensation of slavery. That the remedies are out there, and they have what this music has of indifference for the astute guillotine, theme welcome for those who inert or appropriately absurd, contemplate the disappearance of what is foreign to them ".

Memories ... The fascination since always for the musics of requiem. Not so much for the text besides, to which I do not adhere, only for a certain spirit, a certain depth. The subject itself is imposing and the composers have often delivered the best of themselves. So I redid the route from the Gregorian Mass of the dead through Ockeghem, Lassus, Cererols, Mozart and Berlioz to lead us to Fauré, Ligeti and Chion. You will see traces throughout my play, as a kind of tribute to people I do not know but who still speak to me through their music. The title of the piece also refers to the "RAM" of a computer that is this volatile memory where the information remains only temporarily. Most of the work was done using computer tools and only from sound material extracted from Requiem. This version of Mémoires vives was completely reworked in the summer of 1989 at the studio of the Université de Montréal's faculty of music. It was premiered on March 9, 1989 at the Claude-Champagne Room, Montreal, in the "It's" concert series of New Events. Mémoires vives is a commission for the Nine Events, created with the help of …

The piece expresses totally my aesthetic ideas present on the musical composition. It is a meeting point for some new technical possibilities offered by recent computer synthesis systems (such as granular synthesis) and their strong influence on musical thought and human thought. New constructive approaches in the sound field are needed: an inner life of each "sound layer" and the relationship between all things that suggest the composer turn his attention to the specifically acoustic dimensions, such as the inner quality of each particle of sound. , the development of the sound molecular density and the relationship between the different kinds of densities from the microstructures to the microstructures of the composition.

Radiophonic piece, written after impressions received at an exhibition "Insolitudes" proposing plastic works by Louis Aons and a book-fiction by Eugene Savitzkaya. "Capolican: the secret of fabrication, need to have brothers and sisters, but he has nothing more to ask of his mother, except that she is silent and disappears." Then following the advice of the Rooster, he creates the mold from which they will come out, content with his factory, what will he say? " Using flanges of the text of the author by its sounds but also by the impact of the word, I wanted to show a fragile balance between this morbid aspect and the humor that can emerge with a little hindsight. Bitter flavors, ephemeral fragrances. Between the inside of the charnel house and the edge. Difficulty to live this possible imaginary or to discard these sharp blades. An alchemy of material where we stop, dream and go back to sewing, without being able to take. Craftsman of a thread. I wanted to thank Pierre Gralepois for his collaboration.

Some Find Me... contrasts two portions of Gerard Manley Hopkins' poem "The Wreck of the Deutschland." The poem, which actually has thirty-five stanzas, was written in response to the sinking of the ship the Deutschland in the mouth of the Thames. The ship was carrying five Franciscan nuns who were exiles from Germany. In this poem Hopkins (who was a monk) is trying to come to terms with his conflicting emotions and impressions of God brought on by this tragedy. The two stanzas I chose (#4 and #11) seem to sum up the overall expression of the poem. The composer’s slant on the poems is from an anti war stance and sees the text as expressing two different interpretations of a creator. He sees that regardless of the religion, there are two main approaches: Those that use religion for war and those that use religion as anti-war. This piece is meant to promote peace rather than a specific religious belief. The piece was realized at the University of Alabama and Birmingham-Southern College Electronic Music Studios. The soprano featured on the tape is Carmen Mason. 11 "Some find me a sword; some The flange and the rail; flame, Fang, or flood' …

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 …

Composed on the "UPIC" system made by I.Xenakis and digital synthesizers, for the exhibition of the sculptor Nefeli at the center for contemporary art "Ileana Tounda", in 1989, in Athens.

Recording of Sten Hanson's Déclaration des Droits de l'Homme.

"Mura-Iki" was inspired by the different traditions of playing the flutes, especially those from the Far East. The Tradition of the Shakuhachi was of particular importance due to the extensive use of breathy playing. Thus the tittle "Mura-Iki" which means "Explosive Breath". The piece is though written for the "modern" Boehm Flutes, all played by one performer. The performer has generated sounds of different kinds : breathly sounds with and without tongued attack ; harmonics ; flageolets ; overblowing ; hole slaps ; mixtures of tones and breath ; multiphonics ; break tones ; different kinds of lip pressure, etc... All these kinds of techniques are fed into the computer and then manipulated and edited. In this way, the electronic material emerged : large breathy sounds contrary to breathy attacks, hard percussive sounds and sustained multiphonic-like soundscapes. The performer, on the other hand, performs the sounds in their pure nature origin. In addition to the above mentioned main material, eight double-basses have been synthesized partly for providing a sonic contrast due to the different kinds od attacks and sustained character, and partly to provide a "bottom note" for the feel of floating "tonality" especially during the parts where the multiphonics …

"Dialog II" is a composition about the songs of the humpback whales. Wales are able to compose songs, consisting of six themes, which can be each separated in 4 or 6 motives. These motives change during the travel of the whole group of whales from the North Pole to the South Pole and back wards. Time after time new motives come into the song, others are lost. This idea is the idea of the composition. Between the musician and the computer begins an interactive process, both are getting more and more to a unit. The playing of the musician controls the out put of the computer. The output of the computer controls the out put of the musician. The score exists in form of a computer score, which is put on the computer screen. The computer score is generated live while the performance and is in every performance different. The composition is a real time composition in which the musician controls with his play his intensity the process and duration of the composition.

This work uses as its source material a set of Thai gongs housed in the Ethnomusicology Department of Victoria University in Wellington, New Zealand. These gongs are tuned to seven-note equal temperament. This scale is used as the basis of the work's tuning. The gongs and a set of wind chimes were transformed by means of a Fairlight III digital synthesizer into the sound materials of Koan.

"Frastagliate onde" is a composition based on an italian translation of an anonymous greek fragment (about III Sec. b.C.) : Frastagliate onde spettri festanti adornano il suono dei fragili spiriti The Italian translation of this text is very interesting for his particular speech sounds; so all the piece has been developed starting from the analysis of the text recitation, and processing in several modes the phonetic content of each word. Every sound has been realized using only the base text.