Recording of Vladimir Komarov's Genesis. This work is for electronics and synthesized sounds.

Recording of Gyula Pinter's Prezentiment. For piano, string instruments, and electronics.

Recording of Charles Bestor's Conversations with myself. For clarinet and interactive electronics.

Recording of Hans Tutschku's Nachts. For cello, bass clarinet, percussion and 4-track tape. Poems of Georg Trakl are put in correspondence the world of musical means to make an illustration of the text. Moreover, the tape is composed from recordings of instruments (cello, bass clarinet, percussion) and the voices of actors and singers. For each of the instruments I recorded four layers, each describing an independent rotation around the audience. I work the same way with texts. Moreover each instrument is played "live" which brings an additional layer. The notes are derived from three four-note chords that reproduce the scale.

Recording of William Kleinsasser's Free Shadows. This work projects the idea of virtuosic performance integrated technological rendition and augmentation. The computer music is made up of sounds from the piano with both conventional and extended technique. The synchronization of live performance with computer music utilizes a system that allows for the computer to track the performance of the Disklavier. A Max patch has been designed which tracks the Disklavier performer's progress through the score. This progress triggers events from a cue list. This technique has emerged as a practical way of synchronizing digital music with live performance.

Recording of Jacky Schreiber's Unmundodentrodeum Mendo. For electronics, voice, and pre-recorded sound. This piece is sonically inspired to reflect on self-exploration, a search for what is inside, on the interior, from the most intimate to the largest. Structures in the form of spirals: the largest are equal to the medium, the small, the smallest, the most-smallest.

Recording of John Elmsly's Drift. The tape part uses real-time granular synthesis to processed viola samples. Bowed and plucked sounds has been treated in this way to produce a large-scale mosaic of sounds to background the solo viola part, which explores playing techniques involving small changes in pitch. Such as, fingers, in closer than normal position, produce rhythmic patterns on very small intervals and create a very fluid melody in the upper reaches of the instrument.

Recording of Bruno Capelle Poèmes acousmatiques. This work uses mostly synthetically made electronic sounds and pre-recorded material. The sound are combined together so specifically that truly makes this work a sound poem. The use of electro-acoustic materiel allows for the music to travel within your own stereo listening field sound may appear on the left or right, or move around the space; the sound also differ in the execution of delivery sometimes a gradual transition or very rapidly. The use of field recordings, piano, and objects help bring familiar sounds.

Recording of Jøran Rudi's Moment. This work is composed of synthetic and natural sound, transposed and stretched according to ratios taken from spectral data found in a bell-timbre. In addition, the voice element is treated to create time-variable harmonicity. The artifacts from the stretching have been brought forward in the composition through filtering. The synthetic sound consists of an algorithmically composed element, where a series of numbers control the same parameters in the synthesis. The algorithm scales the numbers to strengthen the low end of the register. The composer describes "Moment" as a slowly developing little piece, composed to be candy for the ear.

Recording of Rudolf Ruzicka's Saxophantasy. For soprano saxophone and electronics. During the compositional process, a special computer named CCOMP was used. The solo part is both for live improved sound and pre-recorded sounds which are embedded into the accompanying texture.

Recording of Ragnar Grippe's Le mécanicien effréné. Voices are explicitly mentioned by the composer as acting as instruments; no language is intended or represented in this performance. This piece follows the composer's "symphonic" approach to timbre and construction of sound, wherein every sound is a composite of several included timbres, in a way that the composer identifies as being specifically contrary to the technique known as Musique Concrète of Groupe de Recherches Musicales in Paris. Through this approach, short moments of a more musique concrète character interrupt the ongoing flow of the composition; furthermore, the composer states the explicit nature of voice as instrument, removal from semantics, and a fascination with the "nakedness" of voices alongside their behaviors and interactions when set upon a texture of electroacoustic sounds.

Recording of Simo Lazarov's Deeply, deeply.

Recording of Vladan Radovanović's Constellations I.

Recording of Yee On Lo's In Memoriam Witlod Lutos Lawski.

Recording of Roberto Garcia Piedrahita's Cristel verda muy oscuro. The composer took a previous piece named "Obs" and added enough change, which became "Cristal verde muy oscuro, casi negro". This work uses developing electronic sounds and varying sonic intensity throughout.

Recording of Juan Reyes' Boca de Barra. The sound events of the piece are based on visual images. These images were produced by elements and objects of a natural landscape. When the viewer concentrates on a particular event, the system destabilizes and events, like images in an exhibition, begin to arrive. La Bocca de la Barra is a geographical beach in the Caribbean, where salty sea water mixes with fresh water from the swamps and, where vegetables become seaweed, frogs become fish, and lobsters look like crabs. In this electroacoustic composition, the composer presents macro-acoustic organizations.

Recording of Christopher Brady's Squamish. This work was made by manipulating a wide variety of sound sources.

Recording of Rubén Hinojosa Chapel's ET llamando a casa. This work is a simple tonal electronic piece composer with the musical fractals system, which is an interpretation of the Koch curve and the self-similarity property of fractal sets. The algorithm features transformations from traditional counterpoint and simpler intervals. For the synthesis of the phone sound, temporal synthesis of sound waves coming from mathematical formulae is used.

Recording of Erik Mikael Karlsson's Interiors and Interplays. This composition is intended to be a portrait of a friend on the double bass or even a musical portrait of the composer. The composer also musical represent problems such as: aggression, violence and resignation play an equally important role at the same time. The starting point material is double bass with Pizziccato, vocals, real and synthetic sounds.

Recording of Francesco Boschetto's Trasumanar. This piece is in four short movements and is dedicated to, poet and filmmaker, Pier Paolo Pasolini. There are string instruments, synthetic sounds, and pre-recorded sound (both unprocessed and processed sound).

Recording of Frank Schweizer's Diamant. At the beginning of the work, recordings of sounds from different recorders, concentrating precisely on the multiple sounds that Johannes Fischer presented in different variations on the recorder machine. When the flute is not the primary focus the interpreter begins to send air through a pipe into the recorder machine. With the valve system, the air is distributed in twelve different valves. The individual opening and closing of each valve is possible thanks to electro-acoustic contacts and is controlled by a computer.

Recording of Lars Gunnar Bodin's Best wishes from the lilac grove. For electronics. In Swedish it means a rather tiny grove, more like an outdoor room (without a roof) where the lilac shrubbery form the walls. The intention of this piece is to radiate something of the same relaxed feeling and contemplation you may experience when visiting such a room.

Recording of Takehito Shimazu's 〇✕△☐. For this composition, the composer produced a special computer program written in C and Assembler computer languages. The purpose of this program was to create sequential data as a means of reflecting, defining, and executing the form of the piece. The composer chose to include a randomizing element in this program in order to more closely simulate human performance of the material performed by the computer element. In terms of form, this piece consists of 5 parts, but these parts are intended to be less than distinct in their separation from each other. The 5 parts are meant to reflect the four shapes indicated in the title of the piece (〇✕△☐, or Circle x triangle square) and a final unification of these shapes. Each of the four shapes found in the title has a part of the composition dedicated to it; the fifth and last part of the composition unites these 4 figures. Performance of this piece features a computer accompaniment paired with a live performer. This pairing allows for a conversation between a moderately inflexible computer accompaniment and a live performer's comprehensive grasp of emotion and timing in musical performance. As a result of …

Recording of Ake Parmerud's Renaissance. The piece is based, on the one hand, on Serge modular synthesizer sounds, and on the other hand, on some additional sounds coming from Renaissance instruments like the lute, the cromorne, the viola da gamba and the drum. The intention was to create a virtual encounter between the sounds, the methods of composition and the aesthetics of the two worlds, analogue and digital, on a distant canvas of timbres and medieval rhythms.