Recording of Agnés Poisson's Attendre et espérer. This recording was produced within the framework of the open work "Le monde devenu musique l'écoute du siècle". Throughout this recording, the composer's father speaks about his time during war as a prisoner in a concentration camp. The piece overall touches on the horrors and tragedies of war around the world.

Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.

Recording of Yasuhiro Otani's Brain-Wash. This recording plays on the idea of the unspoken and the unheard as well as forgotten memories that return with new significance. The composer explores the idea of connecting electronic music with ones consciousness and thus making technology an essential humanizing force.

Recording of Dieter Kaufmann's Dialogue avec Wittgenstein. This work is built on fragments of philosophical text spoken in both French and German, as well as various musical segments by composers Beethoven, Brahms, Bruckner, and the composer himself. The work was produces at the ELAK Institute of the University of Vienna Music and had two premieres. The German version in Vienna (1999) and the French version in Bourges (1999).

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 Pierre Jodlowski's De front (Quatuor). The idea of ​​this piece is based on a set of writings around the processes of aggression in humans and animals, as well as on the notion of frontality (which relates to the intermediate, fuzzy zones of our experience - physical or intellectual). The principle of the work (hence the precision quartet) is based on the development, "in concentric circles," of four groups or entities: 1. clarinet / trumpet; 2. percussion; 3. string quintet; 4. parts electronics. These gradually close in on the listener. This convergence takes place through processes of accumulations and encounters in which perception passes from individualized states to a group feeling.

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.

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 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 Robert Grassi's L'ouest du palmarès. The composer describes this work as a live improvisation from a sample percussionists and speaker. The instrumentation was created by Yamaha drums and a Yamaha sampler.

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

Recording of Robert Grassi's xscho-haii. This recording was made for mini disc and is made up of percussion, electronic drums, and voice. The vocals in this work are impromptu of onomatopoeia and sound effects. The composer describes it as "vocal combat".

Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.

Recording of Juan Manuel Marrero's Come la voce della coscienza.

Recording of Jean-François Cavro's Discours Croises. The translation of the piece's title is "Crossed Discourse", and it is for tuba-bass in F and electronic device. The tuba evolves in a free, quasi-improvised way, on urban soundscapes collected in Japanese metropolises, such as Tokyo, Kyoto and Osaka. The dialogue between the instrument and the pre-recorded medium is played in the mode of a constant search for mutual imbalance with the tuba having to make its way through the richness of the recorded events, hence this cross-talk.

Recording of Stephan Dunkelman's Metharcana. This work was produced using material intended for a dance production. The composer used this work to explore the use of space within a time defined by the choreographic structure. He did this by presenting two seemingly ill-matched sonic worlds and making their relationship viable.

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 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 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 Annette Vande Gorne's Vox Alia. This work is separated into 4 main movements: Giocoso, Amoroso, Inncentemente, and Furioso. The composer describes each of these as small vocal studies that have been transformed through electroacoustics. While this work is split into separate tracks, they are all meant to be played together in an octophonic setting. This work was commissioned by the GRM (a musical research group in Paris).

Recording of Francesco Giomi's Agnaby. Realized at the Sheffield University Sound Studio (UK). Agnaby is an electroacoustic drama freely inspired by the novel "L'Etranger" by Albert Camus. It is also an attempt to get in touch, from a musical point of view, with Arab culture and language. The material is derived from a) environmental sounds of the Arab urban life and culture; b) fragments from Arab traditional music and texts; c) excerpts from the French text of the book read by Daniel Arfib. The objects, having pre-existing functions and carrying intrinsic associations and meanings, have been processed with different algorithms in order to create different degrees of transformation and recognizability. The formal structure of the piece is divided into two parts; the first follows the idea of a story taking place in an open and free space, with its noises and its sonic life; the second moves along the idea of a close and narrow environment, the courthouse of the novel, with its people, its atmospheres and its more introverted and predestined character. Agnaby was realized during a period of composer residence at the Department of Music of the University of Sheffield and it was premiered in Cagliari during the …

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.