Eclipse reflects the ongoing interest of the composer in evolutionary processes as models for musical ideas evolve simultaneously, but their evolution also reflects their interaction with each other. There are areas of predominance for the different musical entities and periods during which each is dormant. The large scale form of the 20 minute piece is in two halves of almost equal duration. The first half is itself in two parts during each of which a different type of musical element is predominant. In the second half of Eclipse there are more struggles for predominance among the materials.

L'Inizio is based on the "Big Bang" theory, on the beginning of the Universe, its expansion, the beginning of life (flute) till the appearing of man on the Earth (percussion sounds on the tape). The time scala used in the work does not correspond to the real time scala in order not to sacrifice the musical sense to the scientific reality.

Sonatu(h)r (1986) belongs to a more vast musical work (of a composition class type), designed for magnetic tape, piano and an intimate, non spectacular practice of sounds. Sonatu(h)r is short for Sonant, Sonata, Nature, Ur (the universal basis of culture) and Uhr (time, hour). Thus, the musical discourse is formed by the display of archetypal elements defining various musical cultures of the planet, or in other words essential rhythmical sounds of musical modes (the very basis of music), isolated from their cultural background, evincing the idea of gravitation centre as a universal, primary, initial aspect of music (sounds gravitating around a permanent C centre which is, at the same time, in the grave register and the fundamental tone of the other sounds displayed as resonance harmonical tones). Also present in the rhythmical archetypal plane is the iambic pulse which corresponds to the universal cardiac and respiratory beat (of all biologically superior beings). These archetypes, these foundations of planetary musical cultures, appear as natural occurrences, as far as timbre is concerned, in the form of cricket chirps, the music this edging between a natural and a cultural state. The work has a cyclic form (in the hypostasis of an endless column) …

It is an hypnotic and repetitive music, originally composed for a choreography about sacred dance. The title is a clear reference to the west ancient land in the Atlantic ocean.

This piece, similar to Matrechka, the nest of russian dolls from which the title originates, takes in the form of an unveiling, a journey where reality, of a certain form, gives place to another reality. It uses the theme, dear to surrealists, that art should never mistaken for the object it represents; thus, in a painting entitled L'air et la chanson (The tune and the song), René Magritte writes, under what seems to be: Ceci n'est pas une pipe (This is not a pipe). Thus waves, breaths, even music originate from elsewhere; they are presented in unnatural forms. From an tumultuous exterior and chaos, we gradually progresses towards a helpless and anxious interior. The sound objects progressively adopt new and unheard-of forms, and resemble less and less the real objects from which they arise. The piece is in seven sections: Chaos, Gris acier, Outremer, Terre de Sienne brûlée, Bleu de Cobalt, Pourpre, Terre d'Ombre. Matrechka was realised between 1984 and 1986 at the studio of Université de Montréal and at the composer's studio from sound material created for six holoscultures of Georges Dyens. The work was premiered on May 1st, 1986 at the Université du Québec à Trois-Rivières (UQTR). Matrechka …

Recording of Serena Tamborini's Per cieli e piani. The original idea was suggested by the experimental wish of demonstrating that a multiform utilization of few elements could create a definite form. Starting from a series of harmonic transposed relation, which could be stressed or implied, used in every level of the work, I have created a complex tissue of relations that represents the final result. T.S. Eliot in the poem "The Four Quartets" explains, both in the title and in the context, the analogy between poetry and musical composition. Besides, Eliot wrote in 1943, in "The Music of Poetry”: ".... I think that a poet can learn a lot studying music… I am sure that the sense of rhythm and of the structure are the musical features that most strictly affect a poet… I think that it is possible for a poet to work in a system which is parallel to that of the musical composer..." From a strictly poetical point of view, the Four Quartets are built on a contrast between the vision of time, like a plain continuous development, and the concept of meta-historical being, peculiar to our civilization: Man is placed in a temporal flow, fed by …

"... no, it's not a joke, Sir. It's not a joke as it's not cinematic music from a sinister movie. It's my imperfect tribute to the perfect composer who was always capable of seeing things as they are: neither funny nor tragic, or if you prefer, funny and tragic at the same time. It is my tribute to his wisdom which - yes, I must admit - is difficult to attain. I always come back to Mozart when this trivial dialectic is too apparent in my life. This time I did the same. It helped me. It made me understand that when everything falls apart, there is always Kyrie eleison left. You are not serious, Sir, are you? You are not seriously serious? I like Mozart. I do like Mozart. And he was not. No, it's not a joke. It's not cinematic music either. It is a piece of my music, it's a piece of his music. And... don't be too serious; it ain't gonna work, Sir. It ain't gonna work..." Excerpts from an unwritten letter Farewell Variations on a Theme by Mozart was composed at the Center for Computer Research in Music and Acoustics, Stanford University, and was awarded …

"Shiluvim" was composed for the choir "Ankor" and commanded by their leader, A. Meroz. The work is conceived on two levels of combinations: 1. That of electronic sounds and a live performance of a children's choir. 2. The combination of two chords, the minor and G major, while a seventh chord in E-flat mixes with them. The text is composed of syllables that help bridge the gap between the children's voices and the sounds on the tape. Work done at the Studio of the Hebrew University.

Recording of Richard Boisvert and Steve Langevin's Northern Line.

"Lag" is built with a material that is both concrete and synthesized, where electronic sounds play an impersonal, imitative role while the concrete material, consisting of various short musical excerpts that have a great significance for me, is deeply processed. and thus an electronic appearance. Gradually, during the piece, which has the shape of an inverted arc, these functions are so altered that in the end the relation is opposite. Order of the Swedish Radio, composed in 1986, this music is dedicated to my brother for his sixtieth birthday.

This composition is music for a ballet, made for the The National Ballet of Iceland and was first performed in November 1986 in Reykjavík. Amalgam is an alloy of mercury. Practically all metals will form alloys of amalgams with mercury, with the notable exception of iron. Amalgams are used as dental materials and as electrodes in various industrial and laboratory electrolytic processes. The ballet was made for six dancers, dressed in gray tight clothes with a golden stripe on the back walking, standing, and dancing on a narrow, strong light beams

Cordes de Nuit was assembled in MIDI code and produced using a rack of DX/TX FM sound modules. The work is based on single voice and is structurally modelled after the sound of distinguished violinist Paul Kling, former concert-master of the Tokyo and St. Louis Orchestras. Global and micro changes in vibrato are controlled using mixes between Pythagorean and Equal-Tempered tunings. Over 200 spectral bandwidths are often sounded simultaneously. The work is dedicated to Iannis Xenakis whom I studied with in 1972.

This piece is originally for live 8-tape track mixer, the various tracks constituting as many terminals that the interpreter can play. The version presented here is a mix made in the studio. The sounds on the tape are deliberately left pretty raw, so as to be flexible in mixing and broadcasting. In order to offer interesting gaming possibilities, they also come from a wide variety of sources: concrete sounds, analog and digital synthesis, and digital processing, made at the Pierre Henry Association's Studio Son / Ré, and at the Center for Music Experiment. from the University of California San Diego.

I worked with Marilyn Monroe's voice as sound material, with the idea that it would be fun to write a "happy piece". It turned out to be not as easy as I'd hoped. The desperateness of Marilyn Monroe came through. There were a lot of levels of dealing with that material and working out that piece, most are by now too hard to describe, but perhaps the most important were the memories; the movie "M" by Fritz Lang, Andy Warhol's "Marilyn" series, and Charles Dodge's "Any resemblance is purely Coincidental", were points of departure for this piece. Most of the tape part consists of transformations of Marilyn Monroe's singing taken from the movie "Some like it Hot", directed by Billy Wilder. These excerpts were manipulated digitally on the F4 computer at the Center for Research in Music and Acoustic (CCRMA) at Stanford University. The orchestra wile a separate entity, comments or ignores the tape.

A study in timbres which develop and evolve in space, where pure electronic sounds intermingle with processed trumpet samples, mainly with speed variation and mix in many strata creating rich polyphonies and/or textures. The goal of the piece is to create a suggestive atmosphere.

"Deliberate Disguises" takes its title from T.S. Eliot's poem "The Hollow Men". Although the piece was not intended to be programmatic, much of its sonic material as well as its formal construction were inspired by the aural and visual imagery of the poem. The works was completed over the summer of 1986 in the McGill Electronic Studio.

Pastoral work with the song of an opening merle.

To start, an order from the poet: it was a huge blow of heart. Say more? The beauty of the images of the text, the human sensibility of the poet, the restraint of the words and the tone of the voice, to imagine, to express, to make feel the passage to death and its reflection on us, the living. The music? At the service of the poem, in its traditional role of highlighting images and deep meaning, emotional support. After a first work of analysis and restructuring of the text by silence, comes that of digging the matter and to give it shape and meaning, from images-subjects of the words. The form? From the kaleidoscope game with the memory, and the choice of the game sequence as support 'smooth' to the fragmentation of time and meaning that we encounter in the text. Meaning? Adhere to the text and be forgotten...

Extraordinary system of understanding and classification analogical, concrete and figured of the universe, the tao • sme allows an acousmatic writing based on the materials, the energies, the transformations. Cyclic succession of five elements, natural forces, destroying each other, TAO causes mutations, substitutions of symbols, concrete indices because there is interdependence between them. It is the regulator of the alternation. The following comments, written in a rather long post-publication period, do not reflect the "author's intentions" which are not of importance, but an organization of meaning-for-me, noticed today, long after the moment of music-pleasure. FIRE, second element 1986 Pierre Philippot Action This coin tells a story. It is a narration, the second stage of knowledge, with often metaphorical characters that evolve and intertwine according to the two sides, apparently opposite, of the same substances: inside / outside, matter / artifice, Reality / Symbol, with variations of "listening points" (framing) For example, the (external) breath of the fire and the (internal) breath of the man, the small natural explosions (matter) and their synthetic imitation (artifice) with the big explosions (zoom) of the fireworks, which can also be metaphor of war contemplated as a show to the applause of each camp, through …

The Question Mark's Black Ink was inspired, in part, by a poem by S.L. Hough (opposite), from which the title comes. Though not programmatic, the work was influenced by the atmosphere of the poem as well as its implicit psychological dichotomy, of which the contrast of tape and live performers may be taken as representative. There also exists a unity between the tape and the acoustic sounds, however, because the sounds on the tape were all taken from the instruments playing: piano (bowed, plucked, and played on the keyboard), and percussion (tam-tam, vibes, bells, cymbals, gongs, all both struck and bowed). Once sampled into the Synclavier II digital synthesizer, the sounds underwent various significant transformations including filtering, splicing, mixing, and other digital concrete techniques. The Synclavier II used for this realization was purchased on a grant form the University of Southern California Faculty Research and Innovation Fund. This work is dedicated to S.L. Hough and to Vicki Ray (piano) and Mark Nicolay (percussion) who commissioned the piece and first performed it.

Recording of Christopher Penney's This Transformation You Have Wrought Upon Me.

Recording of Stanisław Krupowicz's Half Way Through.

"One day, the other" work composed in 1986 in the electroacoustic music studio of CNR Amiens is a series of paintings passing like dreams, melting musical and anecdotal sounds.

Recording of Ira Mowitz's Darkening. "Darkening" was originally the first part of a longer piece. In the process of assembling the piece, it becomes clear that this first occult music was called to a life of its own. The remaining music is now his companion "A Shimmering." This work was produced in 1986 at Stanford on Concept Digital Systems, Synthesizer, the "sambase.”