Recording of Horacio Vaggione's La maquina de cantar.

Recording of Denis Lorrain's L'Angélus. This piece is of a fairly free design and naturally exploits passages of contrast or homogeneity between the tape and clarinet. The tape is composed of electronic and concrete sounds, including sounds from the clarinet itself. The development on two channels of the tape is opposed to the fixity of the interpreter situated between the two speakers. In a live presentation, this piece tries to avoid clearly marking its chronological limits: the beginning is designed to merge with the applause following a previously performed piece, and one avoids a precise ending by making one final clarinet sound on the speakers after the exit of the clarinetist.