Recording of Alain Savouret's Kiosque.

Recording of Rainer Riehn's Chants de Maldoror.

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' 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' Studie 2. This is a work for electronics.

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

Recording of Sten Hanson's Don't hesitate, do it right now. This work consists of 4 separate pieces: 'Che', 'The Glorious Desertion', 'Don't hesitate, do it right now', and 'Revolution'. This collection of pieces were inspired by the ADC (American Deserters Committee), a group of American soldiers that found sanctuary in Sweden after deserting the American army during the Vietnam war. The spoken text in this piece is sampled from a speech given by Che Guevara, a public figure who took part in Castro's revolution.

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.

Recording of Bogusław Schäffer's Symphonie. Both in its original conception and in its accomplishment, of which a considerable part of the credit goes to Mr. Bohdan Mazurek, sound engineer of a remarkable creative experience, the Symphony comprising four parts, presented, in accordance with the idea of ​​the composer, of the structural arrangements, techniques, transposition processes, time relationships and aesthetic and auditory principles which vary from part to part. The work in the studio was made from a score which did not have to take account of the sound situations, but which had to constitute a bridge between the composer and the director, sound engineer. The diagram of the Symphony constituted a system of signs offering a rather distant relation to their musical representation, conventional signs, homologous to a certain extent only to the unfolding of the work. The following electronic devices were used in the composition of the song: sound generators, square wave generators, sawtooth wave generators, white noise generator, pulse generator, filters, ring modulator and amplitude discriminator. The work on the Symphony in stereo was completed in the spring of 1966.

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 Hans Ulrich Humpert's Der Frieden.

Recording of Myron Schaeffer's Voices and Bells.

Recording of Douglas Lilburn's Summer Voices.

From his piece "Torrent", he says that it was composed in 1969 on the ANS synthesizer in the Moscow studio. It is a canon whose theme is the scale of natural sounds (first and sixteenth). The graduated superimposition of the voices of the canon even towards culmination and after towards tranquility.

This work was made almost exclusively with the voice and Microntage.

Recording of Pierre Boeswillwald's La promenade du dimanche. First encounter with the widest possible electroacoustic language. The shape and geometry of sounds fade away in favor of emotion, images and climates. Sunday, day of rest where we do nothing but the simulacrum of what we would like to do!

Commissioned by Chilean pianist Carla Hübner, and premiered by her at the Latin American Music Festival, Bloomington, Indiana, in 1966. In Plectros II the composer extends the idea first explored in his Plectros I - the opposition of two different worlds of sounds. It requires the interpreter to extract "electronic" type of sounds from the piano using both the keyboard and the inside of the piano. No special mallets are required, and the pianist uses fingernails, fingertips or the palm of the hand to obtain harmonics, resonances, and glissandi, or to produce clusters and a variety of different attacks. On the other hand the tape part, produced at the Columbia-Princeton Electronic Music Center in New York, has synthetic sounds - all electronically produced - creating artificial quasi-piano type of sonorities. The goal is to achieve a blending which gives the listener an impression that it is not clear if the sound is coming from the instrument or from the loudspeakers. Plectros II is not a dodecaphonic composition, nor a "prepared piano" one.

"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. "

Recording of Boguslaw Schaeffer's Symphonie. "Towards the end of 1964, I began work on a large format electronic work. From the beginning, I called it Symphony, not to obey the spirit of contradiction, which is a way of creating a long time out of use, but being convinced that this name is likely to new applications, there especially where it is a matter of simultaneously resonating a sound matter of very disparate origin, thus proceeding by symphonic means. That was our idea of departure. Yet, already in the course of composition, I suffered the magic of the adopted denomination, so that at the end of a certain time I ended up asking myself to write a work of a structure, a format and a symphonic emotional message. Therefore, the essential problem was not to use the electronic language to express only traditional musical ideas, but rather to proceed by truly electronic means without ever going beyond the framework. Moreover, it was a question of rediscovering auditory laws, of developing new means of expression from an electronic mode of thinking and proceeding. Both in its original conception and in its accomplishment, of which a considerable share of merit belongs to Mr. …

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 Jon Appleton's Chef-d’œuvre.

"Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.

Recording of Alain Savouret's Kiosque. This piece was created for live instruments and stereo tape. It's imagining a situation: in the center of the kiosk, someone is playing the score of their existence. Like any concert in a square, it is disturbed, distorted by external manifestations, foreign to the score. But here, in this particular situation, it is musical actions, taken over by the instrumentalists of Opus 9, which will disturb, prevent or perhaps facilitate the performance of this score.

Recording of Jean-Claude Risset's Little Boy computer suite for tape. The piece draws on various sound synthesis experiences that I did between 1964 and 1968, working with Max Mathews at Bell Laboratories. These experiences are described in particular in my 1969 sound catalog, which presents a recording of various synthesized sounds with the synth "scores" of these sounds: these scores are both production recipes and exhaustive descriptions of the sound. microstructure of sounds, just as a score describes the combination of various sounds. The Suite is part of a music composed for the play Little Boy by Pierre Halet (Editions du Seuil, Paris 1968), music which also includes vocal and instrumental sections. The theme of the play is the bombing of Hiroshima, relived through the fantasies of pilot Eatherly. In the Suite, the action is condensed into three parts. During the first, Flight and Countdown, the dream of the flight to Hiroshima is accompanied by moving textures, pierced by two fugitive episodes (jazz, gong) then the countdown of the bomb drop, chanted with the rigor of a metronome. In the second part, Chute, the sound travels among various rockets in the great circles of an indefinite descent: indeed the pilot …