Recording of Jon Appleton's Chef-d’œuvre.

Recording of Jon Appleton's Chef d'oeuvre.

Recording of Jon Appleton's Times Square Times Ten.

Recording of José Vicente Asuar's Gueraria repano

Recording of Clarence Barlow's Piano Concerto No. 2 - "Aux fins de quelques siècles". This work started as the second movement of the composers Piano Concerto No. 1 in D and as years past and music changed, the piece changed as well. The composer notes the musical differences throughout the progression of the piece as a reflection of the decade it was written. It was premiered as an orchestral piece in Reykjavik with soloist Deborah Richards and the Iceland Symphony Orchestra.

Recording of Eduardo Bértola's Penetraciones for tape.

Recording of Juan Blanco's Musica Para Danza. This is the composer's first work for electroacoustic tape and was created using an oscillator and tape recorders.

Discover for me this fabulous world of electro-acoustics; this world that allows us to accurately retain the slightest gesture, to multiply the sound sources to infinity, to put things and distant sounds side by side and thus to create magical worlds of unheard-of expressiveness. Rainer Boesch

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

Recording of Christian Clozier's En avant la zizique.

Recording of Christian Clozier's Lire à Lully. This work is the composer's first attempt at electroacoustic music. The sound source used for this piece is the piano which was not mixed but edited in "search of expressiveness".

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

1. Lemon Drops: commissioned by Magnavox Corp.; Darmstadt, W. Germany, 3.22.67; Pub. Lingua Press 2. For Harry: (dedicated to Harry Partch); Electronic Music Concert, U. Illinois, 3.10.64 3. Fat Millie's Lament: (dedicated to MF); Electronic Music Concert, University of Illinois, 3.10.64 Pub. Lingua Press 4. The Wasting of Lucrecetzia; Electronic Music Concert, University of Illinois, 1.2.65; Pub. Lingua Press 5. Dante's Joynte; incorporated into Lingua I: Poems & Other Theaters (cf. below for separate listing); Pub. Lingua Press

Recording of Vittorio Gelmetti's L'opéra abbandonata tace e volge la sua cavita verso l'estreno.

Recording of Lucien Goethals Cadenza. This composition is part of a work for orchestra and electroacoustic music. It is a solo for tape recorder, placed in the middle of the work. The basic material is electronic sounds and concert sounds (instrumental sounds). The overall shape is the result of superimposing a large number of fairly simple sound layers.

Recording of Lucien Goethals' Cellotape. The electroacoustic part of this work was produced in three versions: one-track, two-track, and four-track tapes. It is meant to be played with two performers, a cellist and pianist who become responsible for the synchronicity of the piece. The piece premiered in Brussels with cellist, Herman Sabbe and pianist, Pierre Bartholomé.

Recording of Lucien Goethals' Contrapuntos

Recording of Lucien Goethals' Studie 2. This is a work for electronics.

Recording of Lucien Goethals' Studie 5. This is a work for tape with mixed electronic and concrete sounds. These different materials play off of each other in what the composer describes as a "question and answer" type of dialogue, while being modulated and transformed in various ways.

Recording of Lucien Goethals's Studie VI. The basic material is rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts--it's quarter-tone music. Various sound layers (rhythm - melodic) are superimposed which gives form to a polyphonic playing. So it is mostly linear music with no use recorded sounds.

Recording of Lucien Goethals' Studies 3. This is a work for electronics.

Recording of Armand Gutheim's Die Mauer. The sight of the former wall, which divided Europe in two, and the feeling that it evoked, was the perfect subject for an electroacoustic piece. Divided into three parts (1. Construction 1961, 2. Checkpoint 1975 and 3. Destruction 1989). Several acoustic instruments, tools and sounds were originally used at the recordings as well as a choir. Nevertheless, they were all processed and adapted into the electroacoustic concept that can be heard. The result became a piece who may give the listener an unpleasant feeling from the past but also a feeling of hope for the future.

Recording of Bengt Hambraeus' Doppelroho II. The title indicates that Hambraeus has used as his basic material the range of tones produced by an organ. In this work timbral manipulation becomes a new compositional element. The importance of the organ is immediately established not only in its exclusive use, but as one of the most effective timbral fillers of the gap between live and electronic music.