Piece for electronic keyboard and synthetic sounds. This is a controlled improvisation piece generated on an electronic keyboard with Max MIDI program controlling the different sound patches and dynamics in real time. This piece was realized in 1997.

Recording of André Ruschkowski's Weiber Schalf. This work uses manipulated voice and synthetic sounds, creating a moving complex soundscape.

Recording of Javier Alvarez's On going on. For baritone saxophone and computer/tape. The piece puts forward the idea of ​​"out of sound" by juxtaposing the tempered saxophone played live with the computerized saxophone. The interaction between the two pieces ranges from minute changes in pitch to the clearly audible disagreement between them, especially evident in these sounds played in unison. This creates the evolution, sometimes with a tense atmosphere. This material is contrasted by percussive and rhythmic outbursts which in the context give stable harmonic cues.

Recording of Takayuki Rai's Kinetic Figuration. For MIDI piano, VP-1 synthesizer, and a live computer electronic system. The computer system of this piece realizes an interactive computer music environment by means of both signal processing and algorithmic composition in real-time. The piece consists of 12 sections called 'Cells'. In most of the Cells, the piano and synthesizer are synchronized via the computer system in various ways. In each cell the pianist chooses materials to be played or improvises from its one page score. MAX was used for the interactive software.

Recording of Eric Mulard's De calèche en scylla. The paradox of electroacoustic art, in other words, the art of recorded sounds, is that in the present time when he listens to himself, the artist can play simultaneously with sounds from a distant past - the pace of horses pulling a carriage; the ancestral patois of the Limousin - and sounds carrying a certain future or of pure electroacoustic craftsmanship. The composer wanted to bring into play the three main registers of time that the recording of sound exults: the past, the present, the future. Perhaps a fourth register of time begins there?

Recording of Alexandre Sanielevici's Marée arctique. Arctic Mare is an electroacoustic suite of short linked episodes, which pass through several differing sonic atmospheres. The processed sounds are mainly from various machines such as computers, hard drives, modems, and CD mechanisms. Many of the same sounds, as well as their variations, are reused in different contexts throughout the piece, thus contributing to the unification of the piece in a natural evolution.

Recording of John Richard's Discoverie of witchcraft. For electronics and pre-recorded sounds.

Recording of Peter Batchelor's Discourse. For electronics. This piece considers various levels of interaction (discourse) between its resonant and non-resonant source material. A number of different paths (courses) are followed in each section, ranging from the detailed exploration of a single sound-type to a broader investigation of the relationships between several. This discourse is purely musical; the anecdotal is latent, but direct images and meaning remain elusive, and even the whispered voice is incomprehensible throughout.

Recording of Till Lefranc's Vie. Musical representation of 7 specific moments of the day. These moment are tied to specific actions which correspond with given pitches. This sound is created on a synthesizer, the tone and timbre of which evoke the action it represents. The whole piece has a structure in the nuances of the given form.

Recording of Robert Andrew MacKay's Sea Pictures. Was inspired by the sea town atmosphere of Bangor. Many of the sounds in the piece were recorded on location, including seagulls and folk music. During this voyage through different soundscapes, identifiable sounds are transformed into the unfamiliar and vice versa. Transformations occur from one recognizable sound source to another. The piece can broadly by divided into five large scale sections, which can further be divided into smaller subsections.

Recording of Valentin Lazarov's Boou'97. The computerization of sound and its representation as music and timbre dramaturgy underlie this piece. From choral melodiousness to percussion resonance: all these are sound objects mirrored and re-synthesized in various sound directions.

Recording of Scott Adamson's A Scent of lilac drifts the bank of county 282. For electronics and electronic instruments.

Recording of Jo Thomas' African Violet. For electronics and pre-recorded audio.

Recording of Abel Horacio Rogantini's Misivas del silencio. For electronics.

Recording of Artem Vassiliev's The bells of infinity. The musical material of this piece is based on a juxtaposition of several prerecorded sounds including excerpts from Bela Bartok's Concerto for Orchestra, noises of the concert hall before the performance begins and a sound of whispering voice. These sounds have been transformed by using various studio techniques (time stretching, pitch shifting, equalization, dynamic compression, etc.). The expressive function of the bells remains constant throughout the piece in order to represent the idea of an infinite and continuous being.

Recording of Ludger Brümmer's Phrenos. The compositional idea of this piece deals with two sound types: instrumental and vocal sounds. The sounds where create by a set algorithm; each event then triggers two other events and so on. The resulting sound structure shows a repetitive character with an increasing amount of simultaneous events. The sounds are generated directly into a 4 channel format so that the spatial placement and movements are not the result of an additional mixing procedure. The synthesis algorithms also automatically apply sound effects, giving the sound a very realistic echo and reflection structure.

Recording of Randall Smith's The unmoved center. For electronics and pre-recorded sound. This piece constitutes an analogy that traces the path of its own construction. The title evokes this shapeless place where the possible seeks to materialize, and whose structure ultimately resides outside the limits of the individual. The focus is the interplay of forces presiding over the spiritual struggles that take place inside the body as it seeks its place between the manageable and the imaginable. It resides in a sphere of connected, discordant and harmonious sounds.

Recording John Young's Virtual. This work attempts to convey the idea of an illusory soundscape set in vibrant motion by the wind-an invisible source of energy for the "virtual" objects in the space. This idea extended out of fascination with the processes of making field recordings in the natural environment, using wind "noise" to take advantage of the very active stereo play it produces across a pair of microphones.

Recording of Karl Friedrick's NF970503 for xenakis. For electronics and virtual instruments.

Recording of Philip Samartzis' Hérimoncourt. Based on environmental recordings of the Peaugot Chateau and surrounding grounds, located in Herimoncourt, France. . The Peaugot Chateau is a large, wooden, acoustically dense building which has continually shifting moods and textures. The intention was to create a sonic narrative which captured the dense acoustic character of the estate with an emphasis on the granulation of many of the sounds I recorded there. The granulation technique enabled me to sonically replicate the creaking tones which permeate through every crevice of Herimoncourt.

Recording of Juan Amenabar's Cantiga en el umbral. For voice, pre-recorded instruments, and electronics.

Recording of Mathew Adkins' Silent red. This work was written as part of a multimedia performance. For three dancers, three video projections and electroacoustic sound. This work was inspired by the triptych paintings of Francis Bacon. The sound was created from recording of the dancers during improvisation sessions. This current version is a shortened concert version of the original dance presentation.

Recording of Petri Kuljuntausta's April fool. For electronics and pre-recorded sound.

Recording of Emmanuel Madan's Power that in me grows. For voice and electronics. This work uses a powerful spoken words and electronics to further enhance the sonic elements of this work.