For live voice and DAT tape playback. This work is conceived in three sections: I. An introduction that accustoms the listener to slow perception of vocal harmonics and altered sound recordings. A jumble and collage of distorted sounds is heard...in imitation of the reduced sonic world that the young Beethoven had to endure during the time he first began to loose his hearing. II. The symphonies of the future reach back into Beethoven's own words of suicide and try to communicate through time.... Using cross synthesis... we hear both the great works of Beethoven's future and the sound of him reading his famous testament at Heiligensadt. He despairs and in his great loneliness caused by his affliction he decides to end his life. III. The symphonies of the future rejoice as Beethoven, for the sake of his art and virtue, decides he must live and create! Throughout the work, numerous special extended vocal techniques were developed by the composer/performer. Of special note would be Tuvan style vocal harmonics... heard during the first section of the work. Of particular technical interest is the use of "exploding" resonant dynamic filter algorithms during the final moments of the work.

Recording of Reinhard Lakomy's Die Himmelferhrt des Salvador Dalí.

Issuing form the structure of the piece it is suitable both for pre-acoustic and electronic setting. The Musical theme is formed by a three-attack section. The first part is a sort of presentation of the intellectual and structural message of the composition. The thematic core of the material of the whole composition is sounded in this introduction. Rhythm and melody are dramatically simple, and the counterpoints are still contrasted with each other at this place. Everything that follow is nothing but varieties further development: picking out and awe drawing of certain elements or a new way of combining of more elements -metric variation and that of character and meaning just as well.

Recording of Octavian Nemescu's In Par. This work is for trombone and tape. The title enigmatically announces in a condensed form with the presence of the Hell (infernos) and of Paradise. In the first part a descension takes place, a descent into inferno until paroxysm. Everything develops in a shape of an arc, circle, and wheel. The sonorous flow creates time polyphony.

"Industrielles" consists of a series of continuously evolving structures which resemble variations. Realized in the computer music studio at Northwestern University during the early winter months of 1988, the work is intended to reflect the stark, alienating atmosphere of a deserted industrial landscape at night.

Recording of Alberto Caprioli's Intermedio I.

"Kaleidophon zum Schwarzen Rauschen" (completed at May 8th, 1988) is a composition starting with slightly pulsing white noise, and ending with a sound I associate with "black noise" - with a comparatively low spectral density, but high enough to appear not as simply "metallic" (maybe the acoustic pendant of a "black light" neon lamp or the radioactivity after a nuclear desaster) The white noise is varied in amplitude modulation and colour, and it forms a background up into the beginning of the sixth part of this piece. The acoustic pictures during the eight parts vary between wideness and narrowness, between living nature and metropolitan and hectic activity, between peace and war - and whatever the listener may discover.

knots represents and attempt to create a ‘meta-instrument’ percussive in nature, within certain behavioural contraints. It uses both recorded and synthesized percussive materials generated using a variety of means including Music-11, an old fairlight CMI and a DX-7. The title refers to the way in which materials with wooden, skin and metal origins are continually intertwined and reconfigured in layers and periodically ‘untangled’. Structurally the piece imitates (in a fairly loose way) the overall shape of the envelope of a (metal) percussion instrument - a sharp attack with complex transients, followed by a long decay where the rate of spectral change becomes progressively slower. knots was re-mixed in 1995.

Music, the driving force of the overall work, is also in the foreground. Its rhythms, its temporal propulsion, its dynamism, its plurality of reading propositions, schemas of values, are imprinted on the multimedia set, thus linking from inside all the dimensions of this generalized polyphony. "Lux": light-object of knowledge, primitive light, mythical light, destructive light / Religious experience on the aesthetic and symbolic representations of the bomb TRIMITE, coded name of the first atomic bomb / Antinomy of the pure reason / Imaginary of living crystals their existence on the fringes of men. The entities stemming from their geometrical dreams, appearances of incomplete humans, are as indifferent to them as the destiny of a particular CO2 molecule to the man who exhales it while breathing. "Lux": Reverie of the techno-nuclear era jointly conducted under a double entry. That of the art on-human (or the contemporary technological aspect), that of Dionysian art (or the infra-human aspects of a return to instinctual sources, sensations, impressions, emotions).

In "Luz de Invierno" I consider the additional resources to the interpretation (the cello processing and the pre-recorded material) as an extension of the instrument in more than one sense, since the sounds that the track contains, were originated in the cello itself, to then be transformed in the laboratory through various procedures, until a true extension of both the record and the timbre of the instrument itself. The interpretation also proposes alternatives, by using contemporary instrumental techniques that discover the unsuspected and vast potential of the cello, enriching its color palette. "Luz de Invierno" is a stimulating exploration exercise whose results are naturally integrated into the musical discourse, which provides the listener with an approach to new sound universes.

Soon after the birth of my son Joshua in June 1987 I became acquainted with the work of the artist Giles Carey. In particular a bas-relief entitled 'The Massacre of Innocents" illustrating the Biblical event; the slaughtering of the first-born children by Herod. The violence in Carrey's piece aroused feelings of revulsion in me and a sense of pity for the vulnerable victims. Co-incident with encounter as the intense media coverage in Britain of the Cleveland child abuse inquiry, which caused national debate and controversy. The issues, which this case raised, again highlighted the vulnerability of the child. When Giles Carey invited me to compose music for an exhibition of this work which would include the 'innocents" piece, I began assimilating ideas for music which would in some way reflect and evoke these concerns. The finished work is a single movement on tape lasting about eleven minutes. Following a slow introduction, kaleidoscopic organ-like timbres support the interplay of diverse 'superimpositions'. These include extracts of chant from the Greek Orthodox Liturgy, the sound of children playing and of speech.

A parterre of joy the pretty space trapeze. Mechanics of Lightning Febrile ions exploding the thunderbolt, the storm heard but misunderstood answers its sound. Stun! Splash of silences. Water itself carries within us who transport it, who season it with our multiple moods; well. A perfect liquid by listening to our cycle in condensation and in flow of attractions. Waterstone, from my heart a stroke of frost. The work is dedicated to Francis Dhomont. Pierre Bouchard: "Wedge the time between my teeth. Concide with the present. I like the sound ecology, the phonic reserves. In the mesh of training, too. Lead the noise in concerted moments ... That's it!”

Recording of Andrew Schloss' Meconium.

Recording of Pierre Chuchana and Marc Pira's Microclimats.

The work is inspired by a popular Moldovan ballad (more than a thousand folk variants!). This ballad was transcribed by the classic Moldavian poet Alecsandzy the 5th (who lived in the 19th century.) This is the poetic story (of a profoundly philosophical expression) of a shepherd to whom a little talking sheep announces that he will be killed by two other shepherds, his false friends, in order to seize his flock that they want. The sacrificed shepherd accepts his destiny and begs the sheep not to tell the truth to his mother, to communicate to her that his son has married the most beautiful princess, betrothed of the world, and that at his wedding a star has fallen and that the sun and the moon held the crown. The entire composition is divided into 6 fixed parts. The first two sections have a descriptive function. The third expresses the dramatic content of dialogue between the shepherd and Mioritsa - the little talking sheep. The third sentence - culminating - reveals the tragic context of the plot. Here the tape is added with the recitative (recitation) of the mother. After the reprise, the code, and the epilogue.

Recording of Ryszard Szeremeta's Miracuelo.

Sound images, multiple reflections of these images, inverted, multiplied, stretched, transmuted. The reflections are played out on several levels: between the band and the instrument, between the horizantal and the vertical, at the level of the timbre, and at the level of the form. The writing employs many unconventional instrumental techniques that have been incorporated into the structure of the piece; its harmony and melody are intimately linked to multiphonics and quarter-tones. Deforming Mirrors, the first piece produced at the CIAMI (computer center applied to music and image, directed by Jean-Claude Eloy), uses significant resources, both for the instrumental part and for the electro-acoustic part. The quadraphonic band uses as starting material the oboe, but also some other sources (zarb, saxophone, synthetic sounds) that have been worked on two systems: Syter (real-time processing system developed at the GRM) and CARL (set of non-real-time software developed at the San Diego Center for Music Experiment); everything was then worked in a classic studio and mixed in 24 tracks.

The piece is a mix of different achievements obtained from the program mentioned in the title: Unicum I. It acts in sound fields whose limits and characteristics are placed by the user, the development of the resulting materials are governed by random procedures of a virtually unlimited duration. The piece is therefore only an extract of prolonged achievements.

Recording of Eduard Artemiev's Mosaïque.

Sound garbage, disintegrating ruins of music, overgrown by urban mushrooms of noise. After then music's devaluation to noise background millions of times - now the noise background itself as the last phase before collapsing to white noise - the end of time in realtime, licenced for a single performance by the Institute of Sound Hygiene. "Electronic underwear" is ear-washing for everybody who expects synthesizer imitated acoustic instruments and tinned sequences. Négligé ignores the usual modes to play synthesizer, because the synthesizer industry offers ready-made, keyboard-dominant products today, useful only for throwing out "sound burgers". Négligé is the misusage of these products. It is not by accident that the resulting sounds and structures are associated with the noisy reality of modern industry which became our second "nature". In 1988, at April 8th, a Négligé concert took place in the "Freies Musikzentrum München" in Munich. "Musik für ein sterbendes Haus" (music for a dying house) was one of the five pieces of this concert. The recording is from the last session before the concert.

Nautilus was commissioned by Newfoundland clarinetist Paul Bendzsa (with the assistance of a Canada Council Commissioning Grant). The work will have its premiere performance in July at the Sound Symposium, a biennial festival that takes place in St. John's, Newfoundland. This performance in Bourges substitutes a synthesized clarinet for the live soloist. The nautilus is a sea mollusk that erects an impressive chambered shell. The music makes the analogy of the clarinet as the living creature and the electronic sound as the shell which grows ever larger and increasingly beautiful. At first the solo and accompaniment are relatively indistinguishable from one another, but in time they become quite separate and in the end only the inert shell remains. Nautilus was realized in the composer's personal studio in Toronto.

In four movements ... Aurora Borealis Full Moon Shooting Star Milky Way Nuits sans Paroles is a series of small paintings painted with an economy of means and a speech purified of any useless element. Ethereal memories, impressionistic visions, so are our Nuits sans Paroles...

This work has been completed using some of my personal tools for algorithmic live experiments. The arranging was done by modest technical means of multitracking – fitting parameters in the compositional routines for each part. During recording I was "conducting" the computer and the effect-processor. Sheets of sounds and interval patterns have been created with recursive functions to get qualities "of good feel". I let these objects exist in different acoustic rooms.

This piece continues the series of works begun with Hora, Harmonica, Dies Harmonica, and in a purely graphic form, Calendario-Harmonico. It involves subdividing a given sub-audio period into a harmonic part and making the resulting rhythmic structure audible through heights in the same order. Whereas the previous works used the first 12 harmonics of the fundamental audio and sub-audio chosen, the structure of Octo in Primis comes from the subdivision of a fundamental period of 8 harmonics corresponding to prime numbers 7 to 47. The heights which result are part of series of partials, harmonic series of 20,83 Hz (10,000th harmonic of the period of 8 minutes). These harmonics also correspond to the prime number from 7 to 47.