Recording of Zoltán Pongrácz's "Laus stultitiae" ("Praise of folly") for baritone and tape.

Recording of Itsvan Szigeti's Souvenir de K. The form of the piece as the composer describes it is: Inner form - determined by the content of the poem. It is built up by dream-like, blending episodes as a quasi-birth; Outer form - freely handled rondo and bridge; Rondo- The returns certain soundings/mostly singing separated vowels/ in a modulated - almost periodical - way; Bridge - The correspondence of the time-spheres of certain episodes; Ordering principle - mathematics, statistics as well as two numbers seven and nine. Seven is a "magic" number and prime number. Nine is the number of the months from conception to birth. The work consists of seven main episodes, within these there are two episodes reduced to their components: the first and the last one - which results nine parts. The arithmetical mean of seven and nine is eight. The poem has eight lines, each line having syllabes; Rhythm - is based on the poetic rules of the poem; Space - I wanted to make use of the possibilities of quadrophony in the most felicitous way in the work. Last but not least - aleatory has got a role in the work.

Recording of Nicolae Brînduș's Kitsch_N for clarinet, saxophones, Hungarian folk instruments, and tape. It is an instrumental theatre subscribed to the preoccupation of the author with controlling randomness in a musical action where the sound, attitude and stage gestures are structurally corroborated widening the domain of the performance. It is the second piece of a cycle named Vagues where the author develops similar stochastic principles of composition.

Recording of Nicolae Brînduș's Match - Monody I & Polyphony IV. It is a version dedicated to the Ensemble "Ars Nova" from Cluj Ð Romanian and based on collages of traditional folk dances from Romania's northern area of Maramures and ancestral laments from the regions of Banat and Oltenia. The final tape was re-positioned in the frame of the performers' controlled improvisation live which follows the same principles of composition. It became a sort of an ancestral memento to the momentary performing act. The music on the tape evolves from the natural sound of the folkloric sources, quoted as such, to its multiple subsequent electronic transformations, coming back to the same folkloric quotes in their natural sound at the end. All the process of transformations represent the pulsing and not pulsing metric type of musical activity (tempo strie and tempo lisse so as described by Pierre Boulez).

Recording of István Márta's The Museum's Voices, for tape.

Recording of Ákos Rozman's Klagovisor. This work is written in memory of the composer's mother. The use of an old dried-out zither is used within the piece. There are also sounds of strings and crying, wailing vocal fragments from Hungarian folk music groups. The piece consists of thirteen short movements that blend into each other. Text by Isabel Thomson, was heavily inspired by Ákos Rózmann.