Recording of Agnés Poisson's Attendre et espérer. This recording was produced within the framework of the open work "Le monde devenu musique l'écoute du siècle". Throughout this recording, the composer's father speaks about his time during war as a prisoner in a concentration camp. The piece overall touches on the horrors and tragedies of war around the world.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.

Recording of Yasuhiro Otani's Brain-Wash. This recording plays on the idea of the unspoken and the unheard as well as forgotten memories that return with new significance. The composer explores the idea of connecting electronic music with ones consciousness and thus making technology an essential humanizing force.

Recording of Dieter Kaufmann's Dialogue avec Wittgenstein. This work is built on fragments of philosophical text spoken in both French and German, as well as various musical segments by composers Beethoven, Brahms, Bruckner, and the composer himself. The work was produces at the ELAK Institute of the University of Vienna Music and had two premieres. The German version in Vienna (1999) and the French version in Bourges (1999).

Recording of Roderik de Man's Ecoute, écoute!. This piece was commissioned by the Fund for the Creation of Music. Ecoute, écoute! was composed at the request of Harry Sparnaay for the occasion of the "Who's afraid of?" project, organized by Iris van der Goot. In this project, prominent contemporary solo works were combined with newly written compositions. Ecoute, écoute! is a tribute to promotors of contemporary music, in this case the renowned bass clarinetist Harry Sparnaay. This prominent musician has fulfilled this role for quite some time and is a source of inspiration for many composers. The opening text of the work describes the almost ritual actions of the musician which often precede the actual playing; these are spoken by Harry Sparnaay's wife, Silvia Castillo. Since Silvia and Harry used to communicate in French during the first stage of their marriage, often using the words "Ecoute, écoute!," the choice of the title was a predictable one. The material used to create the tape part was mostly derived from clarinet samples. This composition was a finalist in the Bourges Competition for Electroacoustic Music in 2000. A recording of Ecoute, écoute! by Harry Sparnaay appears on a CD with new works by …

Recording of Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

Recording of János Decsényi's Fuite de Centaures. This work is the fourth piece in a cycle called "Book of poems". This piece in particular is based on a poem by José Maria which revolves around Greek mythology, specifically centaurs.

Recording of Didier Gino Favotti's Molecules. This work consists of various concrete and electroacoustic sounds that the composer states do not sound pleasing on their own, but come together to create a new sound space. It's separated into five movements that are untitled.

Recording of Etienne Saur's Des ondes, toujours des ondes. This piece was composed within the framework of the open work "le Monde devenu musique l'écoute du siècle". The concept behind the piece is the idea that we are all surrounded by waves constantly: the telephone, radio, television, etc. The composer focuses mainly on the importance of the radio over the last century by highlighting significant events and their broadcasts.

Recording of Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

Recording of Frank Schweizer's Songline. This work is made up of 10 untitled movements and contains various concrete and electronic sounds.

Recording of Gonzalo Biffarella's Tango. This work was commissioned by the WDR 3 of Cologne, Germany. This radiophonic piece was inspired by the origin of Tango and uses fragments from old songs as well as a lecture by Jorge Luis Borges about the topic. The text has been translated into German and French for segments of the work.

Recording of Bernard Donzel Gargand's Train fantôme. This is a work for electronics and various concrete sounds.

Recording of Robert Grassi's xscho-haii. This recording was made for mini disc and is made up of percussion, electronic drums, and voice. The vocals in this work are impromptu of onomatopoeia and sound effects. The composer describes it as "vocal combat".