Recording of Martin Fischer's Nicht ein Wassertropfen Fehlt dem Meer.

Recording of Arsène Souffriau's Trois études pour Maldoror.

Recording of Peter Plompen's Selected Blend 84.

Recording of László Dubrovay's Harmonics 2.

Recording of Michael Clarke's Uppvaknande.

The inspiration for this piece came from running my first marathon in Montreal (Sept. '84). The work is meant to portray what it is like to run a marathon. First, the crowds at the start, and then when you eventually start the thousands of people around you (there were 11,000 runners in the race I ran in!). Eventually you begin to drift into a trance-like state where you just keep up your pace and become aware of some of the detail and rhythms in your body. Although more distance is travelled in this state (from about 5 km to 35 km) after the race it appears to be the shortest. At about the 35 km mark you realize that the race is nearly over and you push yourself as hard as you can (sooner if you're a good runner). Then when you finish everybody congratulates you and you collapse (I passed out).

Recording of Rune Linblad's Sermon.

Recording of Andrea Libretti's Anarmoniosis .

The Invalidity of Monuments is a statement about our perception of history, past, present, future; and moreover, our place in that continuum. Can anyone or anything, drawn from an inevitably ambiguous past, serve as a concrete guide for the present and future? Can anyone or anything, which is isolated outside of time, be valid in time?

Recording of Arsène Souffriau's Imaginaires irisés.

This piece was made at the Montgets in the summer of 1980 or 81 with simple production means, 3 Revox tape recorders, a pair of scissors and a small 4/2 mixer. It relies on sound recordings made during a weekend spent with the Théâtre du Rafeau du Mans (French Tanguy, Laurence Châble ...). In particular, I used a recording made during the descent and the rope climb at the bottom of a former wheat silo where we had a picnic and played some music. The piece uses this material by metaphorising it by transforming it with electroacoustic means into a fantastic fiction, where the dream and the death rustle in spite of the side in the train of the characters. But the train of the underworld goes very far to the depths of the cave.

Invited, in 1984, by the Laboratory of Investigation and Musical Production of the Cultural Center of Buenos Aires to realize an electronic work with the digital system, she composed "Encantamientos" whose creation took place in the audition room of this laboratory, December 10, 1984. "Encantamientos" has three movements, the second of which is linked to the first, and the last is separated by a pause. The three movements were composed looking for climates to other sound worlds. First) He who offers nature, which we normally do not know how to hear, let alone appreciate, and the fascinating mystery that it hides; I would say "ecological tribute". Second) That which concerns the euphoria, the pleasure of sounds isolated, related, superimposed, pushed or diminished; "tribute to sounds". Third) One who with so much strength and personality offers the rhythms that in this last movement of "Encantamientos" are remembered through the most popular by drawing them or presenting them openly with their individualities and characteristic accents, some nostalgic, reminiscence in some passages with very subtle quotes and also (why not?) a little humor in some others, pass during this "final movement"; "tribute to rhythms", among which, among others, some typical of our country …

Recording of Juan Blanco's Fantasia en 3 Aguas y 4 Panicos.

The idea of the piece was to make a degree migration between traditional and new sound material with effects that also occur in light music. The 1st movement was played with a western guitar, the 2nd movement with prepared classical guitar (nail file, spoon), the 3rd movement with a concert guitar (natural). The various effects, such as amplitude modulation and reverb, were added later. It follows that this piece is to be regarded as a piece of tape. The musical material is fixed only in the thematic emphases. The improvisation in this suite therefore occupies an important place.

"Chicharra's" is an ode to the Spanish landscape and the men populating this landscape. Sounds of nature such as the breath of the wind, the rushing of the rain, the rustling of the sea carry life in themselves. Thus the rustling of "Chicharra's", the cicadas, their singing narrative was recorded as a set of precious voices. These voices were sent electronically to the strings and then turned into new sounds. This process is comparable to that of instrumental music where the violin bow is coated with coniferous resin to awaken sounds. Thus the buzzing of the fly on my microphone has been transformed into a kind of huge chorus of men. With the poet Schierbeek, I exchanged the Spanish landscapes that we saw and listened to. From there, the poems are born. Poems with the subject of the little donkey, famous because irreplaceable, men work the earth, the thirst, the red earth, the dark wine, the family life and the evenings of Spain. It is the beautiful voice of Lino Calle de Segovia that I chose as an interpreter and it is by kissing the glance, in memory, the mountains of Gadarama that I consider "Chicharra's" as a tribute to …

Halley 86 is a large economy of expressive means, this electroacoustic music work is an image of the following visit to the famous comet Halley. This is also an expressive experience of the dramatic and psychological effects on the audience, pitches and notes. This is the description of a particular situation, a reflection on the desctruction of our day's life. Next to the music, resides the question: will we count in the next century?

It is not possible to describe in a few words a piece that does not have one, but many main ideas, all of them developed along specific trajectories sometimes independent, sometimes closely related. Several images are called to mind the quest for contact with the music, with the timbre, with forms and with poetry between the concrete and gestural sphere of the sounds made by the piano and the abstract, virtual area of electronic sounds. Dialogue and contrast, contact and rejection grapple in a complex universe, where, between fantasy and reality, timbre and harmony merge into a single kaleidoscope of feelings. The tape is solely made up of sounds synthesized with the MUSIC V program and mixed with G. Tisato ICMS program at the CSC at Padua University.

This composition represented Polish art at the exhibition "Documenta VII" in Kassel, Germany 1985 and earned 2nd prize at the 12th International Electroacoustic Music Competition in Burges, France.

*TIBIA I. *for soprano saxophone and electrroacoustic sounds was composed for a solo instrument and an accompaniment of electroacoustic sounds with the help of the computer program *CCOMP* (Computer COMPosition), which was created also specifically for composition of instrumental and vocal pieces. The basic compositional principle of the program is the use of pseudorandom numbers within defined limits. They are intended to simulate random processes typical of the activity of nature and the human brain. The result is a specific and self-contained compositional style. The electroacoustic sounds were realized in Electroacoustic Studio of Czech Radio in Plzen. In the "Marcel Josse Competition" in Paris (1984) have been awarded with the first prize for this composition and also was performed by *Daniel Kientzy*, an excellent player on soprano saxophone from Paris.

Inspired by the early minimal music of my first teacher, John Adams, "Synprov (for JA)" was improvised at the keyboard of the Synclavier studio at McGill University one day in February 1983 and subsequently decorated and touched up using the SCRIPT program. This was my last piece to use a regular pulse and modal harmonies throughout. The voyage away from and return to the opening repeated note creates a long arch over the piece, which consists of three connected 'movements' (or areas); the traditional fast-slow-fast.

"Laberintmutant" is a work based on the disintegration of the structure that is realized when the ratio between discursive autonomous microelements increases. The work is composed according to a field of probabilities determined by the characteristics of the circuits of the synthesizers and the material stored in the sequencers, which creates coherent acoustic developments in a composition system formed by various layers. A version for four live synthesizers and tape was created in 1984 at the "Festival Internacional de Música de Barcelona".

The sounds for The Art of Flying are realized in the Electronic Studio Radio Belgrade (SYNTHI 100), Institute of Sonology Utrecht, and the Electronic Studios of the California Institute of the Arts (BUCHLA 300). The microphone recordings are made in Arizona and California. The separation between concrete and synthesized sounds is not important any more in this piece. It is a play of imagination.

Wires basic idea is working with large sound masses evolving and changing through the time like a complex flux. Each mass is composed by a great number of single sounds (from 10 to 2/300, the mean is 50 to 100) that can seldom be perceived as "notes". So the way the mass "sounds" depends on parameters like frequency range, density, durations, attack, time, and spectra of composing sounds in a sort of granular micro-polyphony. I composed Wires defining the masses evolution at high level by means of tendency masks, using my computer assisted composition system, called ALGEN to generate the low level instructions controlling the single sounds that has been synthesized by a simple FM algorithm. Wires was realized at the "Centro di Sonologia Computazionale" (University of Padova) using the MUSIC360 software for digital sound synthesis.

"Voiles" is a series of textures, or walls of sound, that acts on the listener as an invitation to explore an environment where one can discover new acoustic sensations. The texture, a sustained chord of usually 14-56 notes, is constantly transformed by the change of instrument that articulates the sound (for example from strings to voice, brass, piano, marimba, glasses etc .. .). No electronic effects were used but only direct recording and mixing of acoustic instruments. However, the sound source or the type of instrument are at no time obvious to the listener, hence the "veiled" sound sources. This veiled sound is created by three main factors: the multitrack (180-280 tracks of the same instrument and used at each moment) tuning chords which is new "microtonal" intervals that do not exist in our system of 12 tones and the recording method where the microphone is very close in a dead acoustic space, which highlights the aspects of each type of instrument that we do not normally hear. The title is also an analogy with a real veil where one can see each of the threads or the whole weaving. In "Veils" we imagine that the listener can jump from …