Recording of Gottfried Michael Koenig's Terminus II

Recording of Bogusław Schäffer's Concerto for tape.

Recording of Włodzimierz Kotoński's Microstructures. This piece utilizes sections of fragmented tape to create a montage of sound layers in very dense structures. The composer used the sound of knocking on wood, metal, and glass to form a new sound material and spatialization of sound. These sounds recorded on magnetic tape were cut, melted, and glued randomly into random sequences from which loops of different length were formed and copied onto a layer which finally resulted in this desirable microstructure.

Recording of Eugeniusz Rudnik's Lekcja.

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

Recording of Eduardo Bértola's Penetraciones for tape.

Recording of Ramon Zupko's Metacycles

Recording of Rudolf Ružička's Gurges. The composer calls this piece a "space matrix composition." It was created on the strength of promulgation of international trial electronic and concrete composition "Musica nova." It was composed in Pilsener Electronic Laboratory in November 1969 .

Recording of Walter S. Kimmel's Cronaca.

Recording of Bengt Emil Johnson's Through the mirror of thirst.

Recording of Octavian Nemescu's "Concentric. A question with two answers." for instrumental ensemble and tape. The piece is a reaction to Charles Ives' "Unanswered Question," which is, in comparison, schizoid in nature, marked by breach, discord, disparity and incommunicability. There are three layered music layers in "Concentric" which join together to create a kind of communion that is timeless through the use of resonant harmonic issued by a fundamental sound C, placed in the deepest register, like a natural archetype (of a cosmic and supercosmic presence coming from the depths of existence).

Recording of Werner Kaegi's Hydeophonie I for 4-track tape. It was composed and realized in 1969 in the studios of the Institute of Sonology in Utrecht (Holland). The piece is based on the possibilities offered by a generator with a variable function which, at the time, preceded the digital computer. Kaegi's work is based on programmed and descriptive structures. All the musical material was generated in a purely synthetic way, all resembling the "reality" having come only from the musical structures.

Recording of Octavian Nemescu's Combinaisons en cercles. It is a version at the request of Partita Radicale with a new timbral guise. The work is coceived in three different layers of sound. The surface, representing everyday (diurnal) consciousness, consists of brief and fleeting timbral events almost invariably played forte. A somewhat subdued middle layer provides semiconscious recollections and anticipations of the overall timbral fabric. The deepest layer is made up of complex static sounds, primarily consisting of the vibration of a universal whisper which reveals hidden Nature. This layer of immutable peace, into which all things converge, evokes the nocturnal state of the cosmic unconscious.

Recording of George Balch Wilson's Exigencies for eight channel tape. (https://en.wikipedia.org/wiki/George_Balch_Wilson)

Recording of José Vicente Asuar's Gueraria repano

Recording of Lucien Goethals' Contrapuntos

Recording of Luctor Ponse's Nacht

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.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Recording of Arne Nordheim's Solitaire.

Recording of Christian Clozier's En avant la zizique.

Recording of Christian Clozier's Marché calme et irrégulier.

Recording of Bohdan Mazurek's Sinfonia Rustica.

Recording of Bohdan Mazurek's Bozzetti.