Recording of Michel Redolfi's Son-Frissons. This is a work for electronics that includes various concrete sounds as well as French spoken word. This piece consists of 5 untitled movements.

Recording of Bor Turel's Amarcord - Golden age (l'age d'or). This piece is the first movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.

Recording of Yves Daoust's Fête (3 mvt de Bruits). This is a work for electronics that includes 3 movements: Children's Corner, Nuit, and Fête. This work was commissioned by the Sonic Art Network (Great Britain) in which they asked the composer to create an environmental painting. The dominant element is noise: "smooth" noise, constant noise, and immutable noise made up of the sum of human machines.

Recording of François Bayle's Pierre. This is a work for electronics that was written as an homage to Pierre Schaeffer.

Recording of Roland Cahen's Rappel à l'ordre. This is a work for electronics and includes the story of a deep-sea diver spoken in both English and French.

Recording of Elsa Justel's Du libe tu. This is a work for electronics and acts as an homage to the life of Pierre Schaeffer.

Recording of Christian Zanesi's Toto-Valse. This is a work for electronics and contains samples of French spoken word.

Recording of Pierre Boeswillwald's Bouclettes. This is a work for electronics that includes various concrete sounds.

Recording of Pierre Mariétan's Les dits de nobuyo. The composer states: "The "reality show" is that of the sound, of its own story implemented here in the relationship of the voices to each other with the noises captured, all of this inscribed in the silence of the composition. What these sounds, the voices, the story say, is to be interpreted by the listener according to his feelings, the awareness of what he perceives. The reality show does not want to be, like on television, the alibi of a unique and bygone reality. Its conclusion is that of the listener, discovering through the acoustic image that comes to him, not a visual representation of the sound (whatever one does one will never see a sound), but a formal configuration , dimensioned, resulting from the alliance of sound and space."

Recording of Pierre Mariétan's Paysmusique symphonie. This work is for large ensemble and tape. It includes sections of a large crowd talking all at once and sections of a symphony orchestra performing a work.

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 Barry Truax's Pendlerdrom. This is a soundscape composition that recreates a commuter's trip home from the Central Train Station in Copenhagen and was made for eight digital soundtracks. This work is available on the Cambridge Street Records CD Islands and the SKRAEP double CD Pendler.

Recording of Elio Martusciello's A@traverso.it. The composer describes this work as "The voice through the technology of the '90s". This is a piece for electronics and includes various vocal samples.

Recording of Gérard Torres' A l'ouest, Monsieur Wayne. This is a work for electronics that includes excerpts of dialogue from various John Wayne movies.

Recording of Johannes S. Sistermanns' I hear you think. This work consists of various concrete sounds as well as spoken text written by Hazrat Inayat Khan.

Recording of Frank Ekeberg's ...des cantiques. This work is based on excerpts from the Song of Songs from the Old Testament. The reading of this text has been processed and acts as the main sound source for the composition. The music reflects the content of the text and seeks to expose sides of the human psyche during loss and desolation.

A) Jacket of black silk faille with black velvet trim. Four panels gathered at front; four beaded buttons. Designer Label: Haute Couture / Givenchy Couture Number: 83780 B) Pencil skirt of black silk faille.

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

Recording of Blas Payri's Paysage enseveli. The composer describes this work as an acousmatic oratorio based on fragments from the novel "Thérese Desqueyroux" by François Mauriac and is separated into ten untitled sections. The work contains several leitmotifs and depicts the opposition between the speaker and her surroundings, including various concrete and electronic sounds amidst the spoken word.

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 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 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.