Recording of Tamas Ungvary's "Istenam, Uram!".

"So are you fire of body" - Evocation of the body which lived, of the Promethean body always consumed by the life but never resurrected. A body without function, absolute, an existing carousel for itself, drinking from the restlessness of other bodies. His cavities, his warmth, his breathing are ardent and sweet confessions that murmur desire. "Janvier - Quests of Chaleurs" is an electroacoustic production of the poem by the Quebec author Paul-Marie Lapointe. Divided into four parts, the work exposes four progressive states of an inner reality, states suggesting a confused descent into hell, dominated by desire and haunted by an insatiable thirst for abandonment to the other.

Karangan is the Indonesian word for “work”, as for instance the peasants working in the rice fields. In this composition I tried to integrate the western and eastern musical traditions. Sometimes it turned out, more or less, as a confrontation between two different cultures, and other times it resulted in a synergy. I was inspired to create this piece by my trip through Indonesia in 1989, the country where I was born. It reflects the sounds I heard, the movements I saw and the thoughts and emotions I endured. The real sounds, which I used, are my own recordings, made at location.

Recording of Ulrich Suesse's Klangbild AE 7. This piece is about this industrial revolution and the new technologies which were invented such as the microprocessor and horse power. The style of this piece is very diverse including: free jazz, baroque, classical, and romantic styles.

This music piece reflects an evaluation of the Russian history on example of kremlin. Part 1: before 1917 Part 2: 1917 to 1954 Part 3: later of now

Recording of Bernard Vallée's Larmes du ciel. This is a 3 part work.

The Rom Press was a publishing house in Poland known for its editions of Yiddish poetry and Talmudic tracts. During the Nazi occupation members of the Resistance attempted to melt down the plates of these great literary works and religious tracts in order to produce ammunition. The work employs real time interaction between the cellist and the computer. The computer sounds combine synthesis and digital filtering techniques that are all rotted in a digitally recorded .25 second guiro scrape. Software for the interactive processing was written in Max. Hardware includes a Roland VP70 pitch tracker, a Mac SE/30 with Digidesign SA Card and an Akai S1000 for digital audio and processing. The Lead Plates of The Rom Press was commissioned by Westdeutscher Rundfunk Köln (WDR) for cellist Siegfried Palm.

"Lithophany" is a journey through different natural models made electronically and "sculpted / spatialised" in real time. The instrument that dialogues with this environment is itself transformed at certain times and spatialized. A 4-track band presents to the dynamic spatialization system, a continuum of electronic material, without articulation or form, it is the system that will in real time give shape and life to this material realizing the different stylized images of the suggested models. This will be followed by the fire, wind, wings, birds and ostinati of birds, the imaginary bestaire, water, rain, the dialogue of water and birds, the resonances of water and again the final fire. The recording was made when it was premiered at the IMEB Festival in 1990.

Recording of Nicolas Verin's La Lueur de la fumée. The title of this piece translates to "The glow of the smoke." There is a wide variety of sound, including voice. The sounds are electronically manipulated and with different techniques.

The term "lunar" refers to: taking on or relating to the moon. We all conjure (up) different images when we think of the moon. The moon has been described in literature in many ways, some examples are "the landscape of a great glacier" (John Hunt's Conception) and "shadows on the sand" (Kathleen Raine). Although men have walked on the moon and undoubtedly discovered many things, I often wonder what unreported mysteries it holds. The vast black blanket of space sometimes robs our view of the stars; but yet it allows us vaguely to see our moon. This has posed many questions for me, what "fun and games" are being played on the other side of the blanket? "Lunar New Year is my own realization of what happens on the other side.

Recording of Andrew Lovett's The lyre of the west wind. The title of this piece is from the poem Shelley, Ode to the West Wind. This piece reflects ideas from the poem on at least two levels : the quality of movement is suggested by the use of tempo cures, which vary dramatically during the course of the piece and the notion of cleansing. The sounds are restricted to pitched bowing and pizzicato samples from a cello, which are processed with the help of an alesis quadraverb.

Recording of Claude Schryer's Marche sonore I (Le matin du monde). The title translates to "Soundwalk I (The Morning of the World)." This piece is a radio fantasy based on the testimony of 25 people discussing their acoustic environments. The answers were orchesrated intp an electroacoustic soundwalk in six movements: Allô, Grenouilles, Auto-ville, Couches, Souffle de la terre, and Argument Electoral.

In 1989, we celebrated the Bicentenary of the Great French Revolution. On this occasion, I composed a radio play "Mon 1989". It was a collage of electroacoustic music and documents that I recited myself. After the "little German revolution", the idea came to me, by association, to compose the current correspondent: "Mein 1989", using my voice and this time, documents recorded on magnetic tape. It is a look back on our destiny which, in East Germany, begins with the terrible legacy of Nazism. At the beginning of the play, we listen to a quote from Anaximander: "This place where things take their origin, to this place where they must also be damaged because they have to pay for them. injustice...." Thus the play refers to the difficulties of saying the word "Liberty".

Composition about mineral's world. Sound are linked and harmonized together following the idea of talking minerals. Sounds synthesized on a YamahaTX81Z. Technical notes: Languages: Basic, Machine language 6510 Programs: C-Lab notator, Digidesign Softsynth, Turbosynth, Steinberg Cubase Midi controllers: Steinberg, Yamaha YME8 Computers: Commodore 64, Atari ST 1040 Tape machines: Revox A77, Teac A1230, Teac A3440 Mixer: Roland M160 Analog signal processors: Cabre AF34 stereo equalizer, Dynacord MDL110, Art Multiverb Synthesizers: Yamaha TX81Z Samplers: Roland S50, S330 Stereo 16bits 44.1Khz

Eternity, which can be perceived at every moment, divine capacity embracing everything. I had set my foot in the most basic realms of human existence, on a journey to search for the true significance of living. During my journey, I had always felt in touch with something divine. Because I made my music through divine influence itself, I can say that the actual composer of this work is a divine power. I was lived and breathed by its existence. “Memories of the Universe” — we can consider them the most basic memories (realms) existing in a human being. In our modern times, the existence of these memories is about to be lost and forgotten. Not only did I want to act as an intermediary for these memories, I also wanted to try to show the implacable evidence of their existence. The tape was realized using the facilities of the Electronic Music Research Laboratory of Kunitachi College of Music in Tokyo, Japan.

Recording of Roxanne Turcotte's Minisérie. The recording consists of three small scenarios without words or images. Its sonic environment is inspired by the work of directors Alfred Hitchcock and Steven Spielberg. It was written in Montreal in July 1990 with the aid of Quebec's Ministry of Cultural Affairs.

This piece wants to expand the soft lyric and dripping serenity of the harp, with the help of the computer introducing into the micro-world the senses of the harp and modulated these senses by the electro-acoustic means. The composition is composed of three musical layers, on the one hand harp senses modulated by the electro-acoustic means, on the other hand, synthetic senses controlled by the harp and finally the sense of the harp without any modulation. live part / In the course of this stereophonic work, nine movements succeed one another without respite. The culmination is at the end of the fifth movement. Moreover, the slow and lively structures succeed one another by movements. The piece is dedicated to Eva Maros and was made in the studios of Rion Hungarian in 1989 with the collaboration of Istvan Hervata sound engineers.

Recording of John Winiarz's Music Box Music. Much of the thematic material used is derived from a little bit of music the composer previously composed. The tape is fabricated from the sounds of musical boxes, baby rattles and various noise making toys, as well as a synthesizer.

Recording of Cort Lippe's Music for guitar and tape.

A recording of Cort Lippe's Music for Harp and Tape performed by Masumi Nagasawa. The piece was commissioned by and written for the harpist Masumi Nagasawa. The tape part is made up entirely of digitally transformed and processed harp sounds which are derived from the composed instrumental part. The tape part was realized in the composer's personal studio and was created using the program MLY. The digital mix of the final tape version, as well as the compact disc master, were done at IRCAM, Paris.

Recording of Dmitri Pavlov's My Native Land.

Nahual II is a piece for Chamula Harp, computer and Yamaha SY77 synthesizer. The Chamula harp is an instrument from southeast Mexico used by the Chamula Indian communities for religious ceremonies. The instrument as well as the tuning keys is made of very lightwood and tuned by hand. The strings are made of steel. Its lightwood allows the performer to make glissandos by pressing the resonant top. Due its characteristics, the tuning is not stable so its acoustic evolution during the performance makes this instrument quite interesting. The Mexican sorceress inspires me to create Nahual II; they use the ¬Nahual¬ as a way of experimenting with new realities or to ex someone.

Recording of Serge Morand's Naïves.

Recording of Johannes Kretz's Niemandslandverschmelzung. The title of the piece translates to Fusion of No-men's-land. The piece is for trumpet and band and is inspired by the sounds of a canyon.