Recording of Daniel Chorzempa's Sonett.

Recording of Francis Dhomont's Mais laisserons-nous mourir, Arianna ? Several polemics imply and articulate the piece. 1) Opposition, between two types of time: "excessive time" (very rich in information, exploding in groups and cells of discrete micro-elements), and "fixed time" (slow and continuous changing frames) 2) Contrasts between mobility "in flight of a fly" (in the range, dynamics, etc.) of the fixed zones with respect to each other - dazzling paths, fractures of the continuum - and the permanence of the voice (the one whose origin remains unequivocal) 3) Dialectic between the increasing precipitation of disruptive events (until the bursting to the 11th minute) and their rapid disappearance to the coda, a kind of anamorphic recovery/response of the slow progression that preceded. 4) Finally, conflict (mortal?) between this "Arianna" which evokes, one suspects, another "lamento" confused with a famous "lasciatemi morire" and the relentless proliferation of an entomological universe. As for the swallowing of the song and its complaint, it is up to everyone to create their own interpretation. Dedicated to Marthe Forget.

Recording of Roger Reynolds's ...the serpent-snapping eye. “…the serpent-snapping eye” is for trumpet, percussion, piano and 4-channel sound. It explores the ways in which instrumental sonority can be watched by and blend with synthesized sound. All of the synthesized sounds belong to one of 3 classes of timbres. Each class, in turn, is based on a particular aspect of trumpet sonority, both as it appears to the ear and as it is revealed by the spectral analysis. The Stanford Digital Synthesizer allowed the use of multiple complex frequency modulation instruments simultaneously so that each of 4 channels could be programmed to receive information of distinct frequency content, envelope shaping and temporal character. This sound material was subsequently made to move spatially, producing a situation in which one was physically inside a unitary, composite sound the individual components of which moved. The shape of each instrumental phrase in “…the serpent-snapping eye” parallels one of 3 models used to control the temporal structure of the synthesized sounds. Thus, the models for the electronic sounds find a second, more flexible expression in the activity of the live performers. There is, I hope, at every level, an evident concern for matching and conformation of …

Recording of Ross Harris's Skymning. Skymning is a beautiful Swedish work meaning 'twilight'. The work was written during a period of study in Stockholm last year during which the northern winter descended, producing fantastic displays of rich but fading light each day. The work expresses the feelings that this distant and slow transformation produced in me; in some ways I felt disorientated and alone. - Ross Harris, composer

Recording of Andrew Bentley's Portrait. This work, composed for 3 groups of singers and tape, explores a range of vocal sounds stretching back from the musically familiar and traditional type of vocal production, known as "singing", through voiced and unvoiced sound production of several kings towards an abstract sound palette made possible by interactive combinations of electronic and vocal sounds heard from the tape. Because of the new significance which words take on when "set to music" in a traditional way, I took the alternative approach of re-composing the text (a poem by Gertrude Stein) as part of the musical events, fragmenting word and sound play, but leaving the more declamatory phrases intact.

Recording of Rudolf Ružička's Malefica. "Magic" (from the Latin language) was recorded in 1978 in the Electronic Laboratory of Czechoslovak Radio in Plzeň. The sound engineer was Cestmir Kadlec. "Malefica" was composed for mezzo-soprano, flute, clarinet, viola and harpsichord. These singing voices with instruments are written like those in a classical score, electroacoustic sounds are written only graphically. If you wish, I can send you the score. In the concert performance, the voice and instruments are accompanied by reproduced electro-acoustic sounds with two speakers (in stereo version). Interpreters: Ensemble: "Ars cameralis" Praha with Zuzana Matouskova - mezzo soprano

Recording of Robin Julian Heifetz's För Anders Lundberg: Mardröm 29 30 10. This composition is a musical analogy with an event that occurred to the composer when he arrived in Sweden. He was arrested, which had a great impact on him. The police officer was Anders Lundberg; Mardröm means nightmare, October 29-30.

Recording of Jonty Harrison's Pair/Impair. Pair (even): the balance between opposites (left/right, high/low, dry/resonant); equilibrium; the concept of stasis. Impair (odd): the contradictions of Pair; the element of imbalance, which carries us out of stasis; the dynamic concept.

Recording of Bengt Emil Johnson's Vittringar. “Time is our element. We live in time, with time. The leaves fall in autumn and join what has been – the stratum between life and death where breakdown and rebirth lie very close to one another… As in nature, as well as in that part of nature we call “art.” In the time-flow we call ‘now’ you and I stand – sensing the presence of what is new, emergent – and taking part, within ourselves, in the continuing process in which everything is breaking down. In Swedish, we have a word that has association with both these experiences that sometimes approach each other very closely. It is Vittring (scent/wither).” – Bengt Emil Johnson, composer Göran Rydberg transformed the rhythms of language, using different percussion instruments. Eugeniusz Rudnik gave it a careful and sensitive interpretation in the Polish Radio Experimental Studio.

Recording of Frank Michael Beyer's Schwebungen. The interference of sounds produces gentle and undulating movements that do not escape attentive hearing. In the moments of coincidence (nodes) of this interference, a "bell" sound pushes the beginning of a new color.

Recording of John Winiarz's Night-Night Flower. This title refers to a desert plant called "Night-blooming cereus," a plant that blooms in the dark, the flower dying at the first light of dawn. It is not, however, a program music, but rather an evocation of the atmosphere stemming from electronic sources, natural and instrumental, processed mainly by filtering and modulation rings. The tape was made at the Electronic Music Studio of McGill University in Montreal.

Recording of Michael McNabb's Dreamsong. It features a mixture of synthesized, digitally recorded and digitally processed sounds. These sound, along with the precision control of digital processing and mixing, result in an expressive sonic continuum ranging from unaltered real sounds to those that are totally imaginary. The melodic and harmonic structure provides the framework for continuous timbral and textural transformations. The work was done using digital synthesis, processing, and sound editing programs, programs developed at the Center for Computer Research in Music and Acoustic at Stanford University, and implemented on a PDF-10 computer. Many of the techniques that made the work possible were developed by the composer. The soprano is Marilyn Barber. It was one of six U.S. national winners in the 1978 National Composers Competition, sponsored by the League of Composers - International Society for Contemporary Music.

Recording of Åke Parmerud's Närheter. The title of the piece is a plural form of the word "closeness," which is rather untranslatable. The piece is a text-sound-composition, and was commissioned by the Swedish Radio. A large part of the piece is inspired by various sleep and dream manifestations. The text was written by the Swedish author Ella Hillbäck. Throughout the piece, even without knowing the meaning of the words, I believe one can feel the different "scenes" taking place. The first part of the piece is sort of an "ultimate story of creation,” at the same time implying the first phase of sleeping in a state of half consciousness. The following part of the piece is "a vision of a declining culture,” looked upon from a series of different angles. The end of this piece is built on the Swedish word for dance, which keeps falling apart. This second part also reflects the state of deep sleep where each dream becomes a part of the "collective" dream consisting of different scenes and different levels of "reality.” These "scenes and levels" are in an extrapolated sense, taking place and existing simultaneously at the same place and the same time. The level …

Recording of Frank Royon le Mée's Complices, pour in lendemain fête. Extracts from the three big hours of the office for a day-after party. For voice, processing device, magnetic tape, analog synthesizers. The vocal sequences have been elaborated and are sung by the composer. For Complices, techniques used: singing with harmonic (2 voices), Tibetan singing. Complices: made following a study visit during the spring

Recording of Arthur Kreiger's Still Life. "Still Life" was realized at the Columbia-Princeton Electronic Music Center where it was completed in the summer of 1978. Considerable care has gone into the construction of instrument designs and into more general concerns for phrase, color, and texture. The work also explores extremes in dynamic levels. The title, Still Life, was suggested from an extended quiet passage whose character is predominantly one of stasis.

Recording of Michael Hinton's Her Quiet Witchery. "Her Quiet Witchery" was made at EMS in 1978, with financial support from Swedish Radio. The original material is computer-generated, using the composer's own music programming system INT6. This material has since been considerably reworked with analogue equipment.

Recording of Vladan Radovanović's Audiospacial. The electronic material of the piece consists of real or quasi-simulated vocal or instrumental sounds. The vocal material, on the other hand, sometimes tends towards the electronic sound. The electronic part was realized by combining the two processes. For some sections, the score was established and carried out strictly. Others were improvised using the digital memory of the sequencer. If the electronic part is frozen by the choice of the sound events and their recording, the part reserved for the choir remains open in some zones because the interpreters can decide the rhythm and the height. In its original form, the work envisages a performance space including concert hall, communicating spaces on the same level, and possibly rooms above and below the hall. Both the electronic sounds are treated as sometimes mobile, sometimes stationary sound sources. The choir is required to move about the performance space according to trajectories coordinated with the time evolution of the score. A version for tape alone (and the corresponding score) has also been made. The electronic material is built up of sounds that range from autochthonous to quasi-simulation of instruments and voices. On the other hand, the vocal material …

Recording of László Király's Adieu à Terez. “The sound material of the composition is a female voice modulated by various electronic means. The composition consists of 3 parts: 1) The enchantment of Terez, 2) The dream at dawn 3) Farewell The first part is based solely on the modulation of the voice. The beginning of the second part consists of an indiscernible speech and vocal music, which becomes more and more discernible. The third part remains on the contrast of voice and vocal music. For me, the essential was the contrast and the correspondence and the emotional effect the different timbres of sound.” - László Király, composer

This is the recording of three urban sound environments originally intended for radio broadcasting, as part of programs devoted to large provincial cities. The first of these sound photographs (the bell tower of St Christophe de Tourcoins church) is deliberately missed (used tape, microphone tests, recording speed changes). The second (the basin of St Nazaire) is "successful", but it includes two characters in the foreground and in the background, which cause musical events from objects arranged on the platform (anchors, chains, cans, iron bars ). The third (the funicular of Fournières in Lyon) is rigged (hanging on some natural pits of the band) in a concern nevertheless of minimum use manipulations.

Recording of Satoshi Sumitani's Mirror Concave.

Recording of Kiyotomi Yoshizaki's Son, Lumière et Temps

Recording of Rolf Enstrom's Sequence in Blue. The Swedish Radio corporation made the piece on request. The first part of the piece was originally made to fit a sequence of blue infrared pictures (dark blue night-images, hence the name). The composer continued working with the music in order to give it a life of its own without pictures). The different parts are visions of different "imaginary landscapes" or moods.

Recording of Antero Honkanen's Tapporaha.

Recording of Alcides Lanza's Out Off... A solo tape piece realized at the EMS, McGill University. It is a re-elaboration of unused portions of penetrations I, The Cement Jungle Suite, rehearsal sounds from eidesis III and electronic sounds created with the Moog and Synthi AKS synthesizers. The piece refers to primitive forces at play, from the jungle sounds to the city jungle; from the primeval memories to the magnetic forces at play in the galaxies. All the 'human' sounds heard are below the level of semantic comprehensibility. Realised at the composer's studio SHELAN and McGill University EMS. Montreal, QC, Canada.