The work is based on an idea of a tale or science fiction according to which in some places of the Cosmos there must be beings and factories, which are like or different from each other, that produce the raw material necessary to manufacture stars, planets and comets, as well as other sidereal worlds. I decided to make a direct and accessible music, interesting and elaborate. Although throughout the composition there are moments that can be associated with very concrete visual images, my intention is to suggest their psychological climate, allowing the author to solicit his imagination.

Recording of Werner Ruttinger's Suite uber E-Faust.

Time Past IV, for soprano and tape, was written between January and June 1984 in response to a commission from Jane Manning made possible with funds made available by the Arts Council of Great Britain. Time Past IV won first (equal) prize in the "mixed category" of the Bourges International Electroacoustic Awards 1985. Short vowels and consonants were recorded and fed into a Fairlight Computer Music Instrument. These were manipulated, using the computer, into echoes, drones and textures. The work was assembled in the multi-track studio with a small amount of additional treatment. The text is from Shakespeare's Sonnet XXX: When to the sessions of sweet silent thought I summon up remembrance of things past, I sigh the lack of many a thing I sought, And with old woes new wail my dear times' waste. Then can I drown an eye unus'd to flow, For precious friends hid in death's dateless night, And weep afresh love's long since cancell'd woe, And moan the expense of many a vanish'd sight. Then can I grieve at grievances foregone, And heavily from woe to woe tell o'er The sad account of fore-bemoaned moan, Which I new pay as if not paid before. But …

Recording of Michel Pascal's Chute Libre.

“Vivo” is the "remake" of a work that has suffered several accidents; the worst of which was the partial erasure of the only existing copy, dice to a mysterious magnetic field. The changes have also affected his title, which now manifests its perplexity and its way of existence.

Mascaras is a work that tries to evoke all the multiplicity of situations, sensations, states of mind and atmospheres to which masks are linked ... Masks arise in procession, merging, hiding, to each other: the game, the mockery, the clown, the theater, the carnival, the joy ... And also the mysterious, the occult, the cruel and the savage, the solitude and the funeral, the fear. This work was realized at the Institute of Fonology in 1984.

The fun title of work : "Amphora" (for Tenor Saxophone and tape) is four movements : 1. Snake Chari 2. Bazaar 3. Prayers 4. Amphora SNA

"Yan", Rikskonserter's Command for Kroumata Set dedicated to Jan Ling, professor of musicology, is a twin composition of "Kren"; the two pieces can be given continuously as one single composition or separately. The early percussion attacks allude to "Kren", but "Yan" is closer to an improvisation and takes the form of an elongated and gradual transformation, a distinct form of Kren's one-piece construction.

"Eibbed" (Debbie spelled backwards) is a work that tends to unify classical forms with "created" structures thanks to the similarity of sound. There is no deeply philosophical thought behind Eibbed. The piece has instead been composed on "comfortable" (soothing) sounds for the ear, whether or not familiar with electroacoustic music. The sound sources are based on glasses (different sounds of 2 beer glasses that come in contact, friction, shocks, etc ...), a torn newspaper and electronic music designed and developed on the Fairlight computer. The purpose of the piece is to connect tonality and atonality. It was made to show that I believe there would be much more room for tonality in contemporary works than modern composers allow. We do not do exhaustive studies of tone. Eibbed was composed under the direction of Jonty Harrison in the electronic music studios of the University of Birmingham in May 1984.

Piece for amplified spruce and magnetic stripe in 3 movements: * Sands (3 mn) * The Pope (5 mn) * Revelations (7 mn) Order of the group of Experimental Music of Marseille.

The opposition of small motifs against a sound mass up to the great polyphony, a work in the particularly sensitive and vibrant materials, development of the sentence, a breath, color developments, the stop and the development of energy, it was a starting point, an idea, from which this composition was realized.

Rond'eau's compositional process is dominated by two main areas. The first is the use of circular and rotary movement, both in terms of space and form. At the spatial level, the most important model of this piece is its attempt to grasp the problem of the representation of movement by means of two dimensions: stereophony. Although composed specifically for a multi-track broadcast (a system that broadly broadens the space capabilities in two or three dimensions of the stereo band), attempts have been made to reproduce circular motion printing as an integral part of the stereo band. The concept of circular movement also influences the shape of the piece, and while it gives a certain resemblance to the classical rondo (a form that was in any case so called because of its rotational implications), it is probably more useful to think this form of Rond'eau as simply another manifestation of the general purpose of the circular. The major focus of the play and the fact that a typical selection of natural water sounds contain in themselves parallels with many types of sounds that are found in synthetically generated electronic music, defined heights to more complex events and other noises. The tape …

"Move all day and do not move at all Like the moon under the waves who never rolls "(anonymous) The basic idea of the construction of Im-Mobile lies in an ambiguous notion of "static movement", where ?? the active and passive qualities of music occur as two phases of the same phenomenon. "Im-Mobile" is based on 3 different types of sound material. I - Computer synthesized sounds II - Analog synth sounds III- Concrete sounds They are further developed by digital and analog techniques.

"...als ob’s aus dunklen Fernen rief..." ("as if it was calling from dark remotenesses") was produced as a commission of the Hungarian Film Factory MAFILM in the Electronic Music Studio of the Hungarian Radio Budapest in March/April 1984. The title comes from the poem "Alone with the sea" by the Hungarian poet Endre Ady, which inspired my composition: remembrances that emerge from the eternal roaring of the sea. The time structure of the composition was derived from the Fibonacci-Progression 1,2,3,5,8,13,21,34,55,89,144,233,377,610. The total duration of the piece is 610 seconds. In the studio a MOOG-Synthesizer (Moog III) with two keyboards and two sequencers was available. In the first week I explored its possibilities and determined eight different sound materials. Then I composed the single layers. The first material is coloured noise, from which gradually the other seven materials emerge: frequency modulated sounds, noisy tones, tone sequences and so on. In this way I created a continuum with similar sounds in always new constellations. The eight different materials were recorded one after the other on an Eight-Track-Tape-Recorder and then mixed to a stereophonic version.

Composed in own studio Fragments of "The Beatles" were utilized, selected by their characteristic turns, rhythmic plans, melodic lines, the processing of the voices or the orchestration. The fragments were modified through traditional procedures (cut of tape) and articulated according to diverse associative elements. The polyphonic superposition of the layer respects the tone Beatles's tone according to the sensitivity of the composer.

A theme of 21 sounds is at the base of the piece, which consists of browsing this theme - in whole or in part - which is like a closed circle; there is no way out. At each sound of the theme we stop and try without success, to escape from the circle, to escape. The idea of the piece was given by the content of the play for which this music was made: "Per Paper ZIger" (a paper tiger) by Thomas Brosch, the first sentence of the play "Je ne sais get out of my skin. " World premiere in January 1985 Kortrijk in the Netherlands by the AtZ group.

This is a work based on the idea of a studio filling an orchestra. The introduction is obviously a play on works by composers such as Copland and other works by contemporaries of Copland, a play that quickly demonstrates the power of electroacoustic music to deal with large and colorful sound patterns. The development of the material and the structure is clear. There is also an obvious relationship to "Minimal" music, in reference to the way in which certain small models are structured together. After experiencing the North Sea, "Dawn" was a way for me to escape the spell of winters.

Recording of Martin Fischer's Nicht ein Wassertropfen Fehlt dem Meer.

Recording of Arsène Souffriau's Trois études pour Maldoror.

Recording of Peter Plompen's Selected Blend 84.

Recording of László Dubrovay's Harmonics 2.

Recording of Michael Clarke's Uppvaknande.

The inspiration for this piece came from running my first marathon in Montreal (Sept. '84). The work is meant to portray what it is like to run a marathon. First, the crowds at the start, and then when you eventually start the thousands of people around you (there were 11,000 runners in the race I ran in!). Eventually you begin to drift into a trance-like state where you just keep up your pace and become aware of some of the detail and rhythms in your body. Although more distance is travelled in this state (from about 5 km to 35 km) after the race it appears to be the shortest. At about the 35 km mark you realize that the race is nearly over and you push yourself as hard as you can (sooner if you're a good runner). Then when you finish everybody congratulates you and you collapse (I passed out).

Recording of Rune Linblad's Sermon.