Recording of Michelangelo Lupone's Mira.

It is a piece that represents a search in the organization of sound elements based on the conception: continuity - discontinuity. The elements are structured mainly by an alternation of static and continuous sequences opposed to rhythmic and changing passages looking for the same time the opposition of those elements. The succession and superposition of these sound complexes start from basic structures, and their developments, combinations and transformations, will create new structures and sequences that contribute to the formal organization of the piece. It won the first Gaudeamus prize in the Netherlands in 1976.

This work was composed in 1985. It uses voices recorded in Japan and Thailand, hence the title of "Conversation", although the voices are generally used in a more musical than semantic way. The instruments respond to these voices in different ways during the course of the work, which also gives it a conversational character. This work can be considered as a continuation of "Orchestra" and "Ten Temperaments" in that the image of the sounds resumes the orchestra like a prototype. The recordings of votes were made by Lennart Wretlind.

Potpourri is made with the sounds of hits from the Eighties. As this piece is meant to be taken ironically I will give you this smiley. :-)

Converting music gradually to the sound elements that nature gives us is the best way to enrich musical creation and man (it should be noted that nature is an instrument made of bamboo canes, a sinusoidal generator). This is how the composer understands the continual evolution.

Based on the play "Vie de Galileo, Galilei" by Bertold Brech, this music synthesizes the spirit of staging performed in Havana, by the "Grupo Teatro Estudio" (Theater Group Studio) under the direction of Vicente Revvetta. The voices of the actors themselves, emitted during the preparation exercises for staging, have been used as acoustic material. Moreover, the materials obtained by electronic synthesis anological were used the realization of this work.

Recording of Alvin Curran's Maritime Rites.

"Anamorphées" was made entirely from a single instrument (saxophone) of five seconds, processed in computer delayed time. The basic instrumental sequence is presented, isolated before the play for the jury. The use of a reduced original material makes it possible to carry out a real "genetic" work of sound and musical development where each stage of treatment is an opening towards other possible ones. From mutations to successive mutations, the resulting sound objects are diversified, progressively or radically different from the basic model, becoming themselves the starting point of a new tree generation of transformations, then developed and organized in sequence by micro-operations. montages, tiling, brewing ... Some terminal sounds are separated from the basic sequence of a considerable number of transformations (sometimes more than thirty), something unrealizable without technical problems (support) in an analog studio. Just as impossible, carried out traditionally, are the operations brought by certain programs dealing with the temporal order allowing extremely complex micro-assemblies going below the only ones of temporal perception until the organization of whole sequences, making pass the anamorphosis of the detail to the composition. The anamorphosis is also of musical order - to take a very conventional instrumental sequence: legatissimo and rapid …

Commissioned by the Kansas City Civic Orchestra, Glenn Block, cond.; Premiere: Electronic Music Festival; Kansas City Conservatory of Music, 10.13.85 MS

Lament was composed for BAMB and Radio Clyde and was then part of the selection for the Prix Italia music selection in 1985. Taking into account that the listener could listen to the work by chance, we decided to use "everyday sounds" (which would have more to be immediately recognizable), musical sounds. As much as it appears at first sight anecdotally, the structure and context are musical, which gives rise to a work that can be interpreted on several levels. The linking factor of this process is the notion of time-one of the implicit concerns of all composers (the composition can, after all, be seen as an organization of time-of its mastery-by means of sound) made explicit here. by several "poetic" references: ticking clocks, counting, the river of time, etc ... - all clichés. Lament was made at the Electroacoustic Music Studio of the University of Birmingham, with additional material from the Electroacoustic Music Studio of Newcastle University.

Thoughts come tumbling in, unordered and often without any connection with the composition no which you are working. This was also the case during the time I was composing my Ritournelles for soprano and computer. A flood of material and studies came into existence which could not be fit into my Ritournelles. From out this material resulted in my piece "Chants Magnétiques" on January 20th, 1985 in two hours by writing a command string at a high tempo and reading it into my MIDIM system on the PDP-15 computer. The piece was immediately recorded on 4-track tape and no corrections were later applied. It had its premiere two days later on January 22nd, 1985 at Muziekontrum Vredenburg in Utrecht.

The starting point of the piece was given by the visit of the "Monsters Park", a grotesque sculpture garden near Viterbo in Italy that was created at the end of the sixteenth century by Pier Francesco Orsini, Duke of Bomarzo. The title of the piece is an inscription engraved on one of the sculptures, a giant monster head with a gaping mouth that is known as "the mouth of the devil" or "the dragon". The inscription seems in resonance with its meaning in a mysterious, inexplicable way and the work can be seen as a musical manifestation of any resonance. Most of the material derives from recorded lyrics: a reading of the three words "ogni pensiero vola". Through the technical study of linear coding analysis, the voice was used to form the timbres of different purely synthetic sounds. "Ogni pensiero vola" deals with the similar evolution from voice to spoken words. Gradually the terms of the title begin to emerge: first, as whispers and then as syllables and finally as choruses resembling songs. As the piece tries to close, the words become more and more intelligible, until the end where they are whispered by the voice, without process of transformation, …

This piece was made at the IPEM studios in Ghent on November 1985. This work has a clear and noticeable construction, based on the proportion 2:3:5. The total duration is divided into three parts according to this proportion: the parts' durations are 3', 2', and 3'. These parts are subdivided according the same proportions, taking into account the possible symmetries starting from 2:3:5. The sounds used are similar: each sound is deduced from the original sound. The sounds are placed in polyphony. In its duration, each sound is divided into three or four parts, which are placed in specific places in the total symmetry of the work. This approach provokes a second level of polyphony: polyphony in the fragment itself. The last appearance of a sound, that is to say, the disappearance of a sound of the work, is always announced by a diminuendo, a descending glissando, a slowing down in the rhythm of the sound, the sound, which becomes smooth, etc. This work may be played in combination with Next pièce no. 2 for solo tuba.

As the title suggests, Ep '85, a sort of contemporary epic poem, is a work composed using original or prepared elements of traditional games, songs, and lyrics as well as various "models". 'pure electronics' which, in my opinion, is comparable to some kind of traditional music. The work deals with a "universal" epic thought and does not need translation of this lyricism despite their use. However, the composition includes both important parts and lyric episodes, just as in the epic poems of the past.

A musical essay on the aspects of time: report and situation. Work performed at the Institute of Sonology Utrecht (Netherlands).

Adagio is, as the title suggests, cast very much in the tradition of the late-Romantic symphonic slow movement, with its carefully measured pacing combined with a dramatic use of weight and drive. In particular, Adagio has a special relationship with the slow movements of Mahler's symphonies, this relationship being present at different levels and to different degrees at various points in the piece, ranging from the use of generally expressive gestures to explicit 'quotations' (particularly from the Andante of the Sixth Symphony). Perhaps the most easily perceived Mahlerian trait in Adagio is the use of randomly struck cowbells which permeate the Sixth and Seventh Symphonies. Adagio was composed in the summer of 1985 in the Electroacoustic Music Studios of the University of Birmingham. It won the EMAS/PRS prize in 1986.

Creation at the castle of Clermont in August 85. This piece was the subject of a video production in collaboration with Léon DIAZ-RONDA, engraver and painter (Title: "Monologue Two"). Dialogue is divided into 5 movements: - DICTATURE - STRESS - CHARM - SENSUALITY - LEAK Each movement illustrates a scene that relates to me a situation of dialogue (communication). Formally, two sound materials are used in each of the five movements. One of these two materials is then developed in the following movement (modulation principle) added to a new material. The five movements are constructed of this same method.

Lily, how is she? She is sweet, she is cute ... very delicate. Melancholy sometimes: she is ticklish Irritable ... she lets herself die, burned by the flames.

"Multiplicity of Unity" or "Unity of Multiplicity" are pure illusions and mystifications. Nothing relates to anything, nothing can be deduced from anything, there are no causes nor effects. Neither there is a world of ideas, monads and essence, therefore each reduction, even eidetic, is just a replacement of objects-- or better --words which seem to be especially developed for this useless game. Anything may precede anything, anything may follow anything, and there is nothing which might not coexist with anything else. The ordering function of time is another illusion and oversimplification. The same applies to necessity. After all, "impossibility" is a common thing, indeed. There remains one question, however: what does the world seen from the top of Palace of Culture and Science in Warsaw have in common with the world seen from the top of Empire State Building? Nothing. And this is a right answer. I can not miss an opportunity of expressing my deepest gratitude to John Chowning for his human voice synthesis, to David Jaffe for his pluck instruments synthesis, to Bill Schottstaedt for his strings and for myself for the remainder. Thus Spake Bosch was composed in March 1985, premiered in Warsaw on April 11, 1985 …

This piece is part of a cycle of eight pieces. J.M. Wyx is a fictional figure, suggesting a fanciful atmosphere of an ancient world and historical instruments. Its form is a large ABA form. Apart from its composed parts, the piece offers a possibility of improvisation for the solo instrument, the hurdy-gurdy.

This work is based on a verse declaimed in Latin of "Ovid's Metamorphoses" describing "the Daedalus" of the great labyrinth constructed as the home of the Minotaur. The verse says "The eyes are lost in Daedalus because of the wandering in the various ways". This is the problem of illusion due to the divergence and the crossing of paths, where lines of development and progression on which is based the structure of musical treatments of "Labyrinth". The purpose of this musical "Labyrinth" is to engage and interact the listener's attention rather than lose it. Produced at EMS Studio and Queen's University Kingston, February-May 1985. Work steps: May-June 84 sound laboratory from the British Medical Research Council of Cambridge (UK) with the digital sound editing system used to create a variety, text transformation.

The work is, like my previous compositions, based on the preference I have for recurring treatments. This sounds complicated but is actually very simple. It simply means that a sound and its derivatives can be, if desired, recorded one on the other in a single gesture, so that the sound structure becomes more or less closed. This depends on the intervention of the composer. The derived sounds giving the coloring; it can happen quickly or slowly. For "Tide" I chose "slowly" because the tide is also a very slow process that takes about six and a half hours to reach completion. In order not to tire the listener's patience too much, I reduced "Tide" to about 17'30". My preference for recurring sounds comes from the fact that the composer has a direct influence on the material that is so stimulated in terms of its capacity of expression, another advantage, immediately apparent when listening, is that the sound gains acoustically and away from the world from which it came, the electronic sound.

Recording of Ira Mowitz's Jubilum.

"You offer me out of water the sun". Produced at the Experimental Studio of the Finnish Broadcasting Company.