Recording of Elzbieta Sikora's Janek Wisniewski. The name of this work comes from the Polish ballade that was written to honor a young worker who was killed by the militia in the 1970's. This work was inspired by the fight for worker and domestic rights during that time.

Recording of Iván Patachich's Alterego per percussioni solo e nastro. This piece wants to use the possibilities of electroacoustic modulation in the field of percussion instruments. The score of the composition consists of four parts noted in a traditional way. The second, third and fourth parts are transformed by electroacoustic means, the first part remains without any modulation. The piece consists of short sections. During these sections, free rhythms alternate. The composition has a bridge shape, culminating at the end of the fifth section. The main modulations are: filtering with control voltage, feedback, transposition, spatialization, etc.

An attempt to find a new spiritual consciousness. The Grand Patriarch was not interested. Consequently, I dedicate Motet in all his glorious incompetence to the hordes of black stars.

This piece was composed in 1982 with a Buchla 200 analog system and with a multi-track mix to produce a basic texture. A byte of curly bands with soprano voices was assembled and subsequently played by the computer using a keyboard. This gave linear and pointillistic contrasts with the harsh sounds electronically.

The two-channel realization of this tape piece was created in 1984 in Berlin. The first broadcast took place on October 12, 1985 in the Hungarian Radio. The musical material was produced exclusively by analogue electronic means. On the one hand, the musical form of the piece is the result of a process that results from the variation of twelve different basic sounds with itself. On the other hand, one can clearly see an arc shape, which is created by the contrasting musical character of the middle part compared to the beginning and end part. The strongly noisy basic sounds are identifiable by their identical envelope curve as parts of a unified whole, but differ from each other by different, each for themselves specific sound structures with their own Gestaltqualitäten. The series of twelve basic sounds is traversed a total of 13 times by combining them with their own row structure, each shortened by one sound. Thus, in addition to the standard-setting basic series, a second variant of this series gradually builds up in the course of the piece in order then to build up again from the nucleus of the initial sound. Repetitions of the same sound constellations are thereby …

A quadrophonic electro-acoustic and video graphical composition for two simultaneous video projections made by Pentti Kakkkori and Erkki Kurenniemi. A commission of the trade union of YLE technical staff. This piece is based on industrial landscape, which have been analyzed, modified and processed with electro-acoustic instruments. Resynthesis is made with digital Synclavier II synthesizer. The video landscapes are recorded from YLE building site and combined with computer graphics that have the same theme: work in its different forms. "Working Cantata" has five parts: - Prolog, in which all the elements are introduced - First solo for sonic elements - Second solo for computer graphics - Third solo for processed video - The finale

"War in Ceylon" is one of twelve pieces written for a modern dance-ballet based on the Indian epic, The Ramayana. Altogether, these twelve pieces comprise my musical interpretation of The Ramayana. “War in Ceylon” is the tenth piece in the work. While this piece is for electronic tape alone, the work as a whole includes the following instrumentation: flute, piccolo, clarinet, bassoon, viola, cello, percussion quartet (playing forty-five percussion instruments, and electronic tape. The source material for “War in Ceylon” is called “Ketjak: The Ramayana Monkey Chant.” I recorded it from The Nonesuch Explorer/Music from Distant Corners of the World (Nonesuch H- 7-11). It was recorded in Bali by David Lewiston. Following is a description taken directly off the record jacket: “As dusk falls, more than 200 men gather in a temple courtyard, squatting in tight concentric circles around a small central space reserved for the chief protagonist. Suddenly, their sharp cries of tjak begin one of Bali’s most thrilling experiences. Ostensibly, the ketjak is a reenactment – complete with a chorus imitating monkeys – of the battle described in the Ramayana epic, in which the monkey army came to the aid of Prince Rama in his battle with the …

The composition is a meditative work based on the cantability of basic instrumental materials - fragments of melodic and harmonic structures of a cello part - transformed by the vocoder, the digital sound processor, the equalizer and so on. It clearly shows the author's desire to establish a relationship between these "thematic materials" ostentatious timpani and dynamising structures synthetically created.

The literary material of this piece is composed of Psalm 29 (verse 11) and the last words of the homily of Pope John Paul II of the solemn Mass on the Victory Square in Warsaw in June 1979. In the music the composer benefits greatly from the electronic sounds of the Moog synthesizer. The construction of the Elegy is repetitive and takes the form of the form of litanies. The invocations of the priest according to the composer bear the character of a speech with God. At the same time we pray for peace for the people and for the renovation of the "soul of the earth" - the "Soul of this Earth". All the work is dedicated to the commemoration of dozens of victims of the Polish-Polish war. Under this term one understands the repressions, sometimes mortal, which affected the Polish nation on the side of the communist regime since the state of siege (1981) until the end of the Eighties.

Recording of Lars Åkerland's Inout.

The work was composed in Stockholm Music College Studio at the end of 1982 in opening of Strindberg's "The Ghost Sonata". (Kama Loka is the unofficial subtitle that Strindberg gave to his work.) One can certainly listen to this work without referring to the piece, but for those who know it, some correspondences are perhaps worthy of interest. The work is conceived as a traditional opening in which the musical material approaches the characters and the events of the piece to the music illustrates a vision of which the student observer has an experience both in the future and in the past (tic-toc clock). He pierces the secrets of the house (percussive attacks, dry and cracking sounds) of betrayal, guilt and evil. He sees the daughter of the house (river of his highs, vulnerable), victim of the game of the Evil One, defenseless, frozen in his martyrdom, he sees the old man Hummel (bands of rattling sounds, ticking, penetrating), the vampire and manipulator who devour the heart and the human life, everything leads to the destruction of the house, the disaster during which the student saves a poor child, the vision slowly moves away and melts in a Sunday morning …

"Presentimiento" was made in the EMS Stockholm Studio in 1982 a month before "Círculos fosforescentes en fondo negro", this piece was realized on the program IMPAC by Michael Hinton, who works on probability curves that make it possible to control sound events. Presentimiento is a clearly percussive piece and can be divided into four sections. The odd sections display a form of gradual growth in density and intensity, while the even sections are static without significant variations in dynamics or character. From a timbric point of view, however, the piece shows a unitary color, which makes it possible to consider the sections as different moments of an indivisible musical thought. The piece comes in two versions, quadraphonic and stereophonic.

Recording of Roland Yvanez's Neiges.

Recording of Ingram Marshall's Fog Tropes.

This piece wants to produce, from these well-known instruments, sounds never heard by means of the introduction to micro world of these instruments, by the electroacoustic technique. These new sounds mix with the well-known sounds of these instruments. All three instruments are two complete parts. The first parts of the three instruments must be recorded and modulated. On the occasion of a recital / live performance, this band must play the second part of the third instrument, without any modulation. Among the five mono-thematic movements, there are three cadences for each instrument. The band of the piece was performed in the Hungarian Radio Studios in 1982, with the collaboration of Istvan Horvath sound engineer.

Clepsydra is part of this vast acousmatic fresco made of steps forward and back on the first works. Composed in this last idea, this piece is the second movement of the 1st Grimoire of the "acoustic illusion", not created until tonight, devoted to the element water. The 2nd Grimoire (1982) was born before the complete creation of the 1st Grimoire. The first purification of the material therefore took place before the shaping of the initial material. However, thanks to the evolution of the experience, I wondered about the stability of my basic building and I got a clearer idea about this project. These reflections have actively served me in the development of Clepsydra. Around the "Athanor", the "Vulcan Forge" and the "Blue Corps of the Night", Clepsydre closes "perhaps" the 1st Grimoire, presenting the philiphaly houses of the acousmatic creation. This is how this work is woven with a number of natural atmospheres evoking a cloister in the rain and sounds created in the studio.

Recording of Gabor Dárvas' Poèmes électroniques

An electroacoustic work composed by Teresa Rampazzi.

A recording of Chiaki Takatsuki's Aya. Waves of electronic sound twisted like threads are twisted little by little. First, a dynamic scene, making use of the revolving sound image. At the end, space of tranquility. A gyrating sound was made from the original circuit, based on two controlled amplifiers (voltage). One can find a circular sound not a circumference but in front of or behind the audience.

Recording of Enrique Macias's Lied für Maria. This piece was created and realized at the Studio de Musique Electronique de l'Academie de Musique of Krakow Poland. This piece is included in a cycle of of three Lieder that the composer wrote in 1982.

Recording of Rob Kruit's Unknown Roads

Recording of Reed Holmes's Song and Fantasy. Song and Fantasy was realized in a Fairlight Computer Musical Instrument (CMI). Almost all of the tape, originated as live trombone sounds. To accomplish this, the composer wrote several lines and fragments for trombone. Tracy Collins, the trombonist, played the music as the composer recorded it on a reel-to-reel tape deck. These sounds became the source material for the composition. The composer fed the material into the computer by a sampling process, and from this point, most of the manipulation was performed in the computer.

Recording of Theresa Rampazzi's Géométrie in Moto.

Recording of Bohdan Mazurek's Epitaph - to the Victims of Terror. This piece is dedicated to the victims of peaceful demonstrations in the defense of the basic human rights staged by the people on August 31, 1982, in over sixty towns across Poland. Anti-government street demonstrations were organized by Solidarity to commemorate the second anniversary of the Gdańsk Agreement. The bloodiest protest occurred in southwestern Poland, in the town of Lubin, on August 31, 1982. The Lubin demonstration resulted in three protesters killed by Communist services, and an unknown number of wounded.