Recording of Julia Dmitrioukova's Y-Planet. The composer intends for this piece to encapsulate the idea of Earth transforming from a simple life planet to "point X" in galactic space during the 20th century.

Recording of Sten Hanson's 8 variations sur une polska de Hammerdal. This work is part of a series called "recycling" where material from traditional music is brought into the world of electroacoustics and made to fit into that genre of music. This piece specifically uses material from a polka and is played with a willow flute. The recording of the willow flute was made 40 years ago and is the only one of its existence.

Recording of Simo Lazarov's The winds of the Balk-an (The iron mountain). The composer compares this piece to the feeling of standing in front of a mountain and feeling the oppression of its grandeur.

Recording of Frédéric Kahn's Bref éloge du coup de tonnerre et du bruit d'ailes. Work made for electronics.

Recording of Luigi Ceccarelli's Respiri. This recording was made for amplified horn and pre-recorded horn sounds and was commissioned by the "Fondazione Dragoni - Centro Studi Armando Gentilucci". The composer states the necessity of complete symbiosis between player and instrument when playing a wind instrument and attempts to expand on that idea with this piece. This work includes 6 tracks that are meant to be played in different areas across the listening space while the live horn is amplified across 4 speakers.

Recording of Barry Truax's La Sera di Benevento. This work is a soundscape composition based on environmental sounds from the town of Benevento, Italy. These sounds are mixed with the reciting of a lyric poem by the 14th century poet Giovanni Boccaccio. This work was recorded on an 8-track digital tape.

Recording of Eduardo Polonio's Brief Fast Ambrosia. This is a work for electronics.

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 Colby Leider's White Fire. This work is for electronics and uses lightly processed pre-recorded sounds to creating an eerie, evolving soundscape.

Recording of Michael Pounds Cry out. This work explores the possibilities of trumpet and electronics, with a work full of musical gesture and unique cohesion.

Recording of José Halac's The Breaking Of The Scream. This work was inspired by a folk song from North West Argentina called "Baguala del Tigre" and a poem written by Argentine poet Pablo Anadon called "Seasons of the Tree". The main ideas from both of these works converge into this composition.

Recording of Hideko Kawamoto's Night Ascends from the Ear like a Butterfly. The composer dedicates this work to his grandmother. This composition was inspired by Haruso Shibuya's poem, "Coliseum in the Desert".

Recording of Harry-Ed Roland's N.A.M.A.: "booty" don't walk. The composer dedicates this work to the memory of Michael Schleiter. The inspiration behind this piece is the experience of the composer living as a person of color and continuing to deal with inequality everywhere he goes. The work is about "creating inequality and its seemingly intrinsic hypocrisy and irrational fears".

Recording of René Uijlenhoet's Lichtgewicht. This work was written for 4 audio tracks and was commissioned by the Fund for the Creation of Music. The sounds in this work were inspired by electronic music from the 1950's without sampling anything directly.

Recording of Ambrose Field's Expanse Hotel (Durango Mix). This work consists of five short movements: 1. Storm, 2. Horse Drama, 3. Orient Express, 4. Exotic Beach, and 5. Lost moments. Each movement portrays a different film situation, and the work as a whole represents old, British films.

Recording of Linda Antas' A river from the walls. This work was inspired by rivers, both visually and philosophically and the composer attempts to create an image of water condensing into a powerful river.

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 José Miguel Fernández's Attract. This work was composed in 1999 as part of a FONDART project of the Ministry of Education of the Chilean government, on the use of mathematical models (chaotic and stochastic) for musical composition and interaction with the computer. For this work, the composer used two chaotic models (torus and logistic map) for the clarinetist's score and random models (Brownian, 1/f and white noise) for the spatialization of the sound. The samples were made with Csound, Audiosculpt, Peak and Protools (for some editing). A pitch-to-MIDI converter triggers MIDI events on a proteusFX with a random beat. The computer keyboard triggers the samples as well as a Max sequence made with the torus model X n+1 = X n + Ksen Y n. The title for this composition is taken from the strange attractors which have recursive equations and fractals; it is also drawn from the attraction which produces some sounds in the unfolding of the work and in the interaction.

Recording of Jacob Ter Veldhuis' Grab it !. This composition was based on voice samples from American prisoners sentenced for life, taken from a documentary called "Scared Straight". The composer used pitch, rhythm, and melody to turn the spoken word into a musical theme.

Recording of Enrico Cocco's Le rêve de Chuang Tzu. This piece is part of a larger musical theatre work with the same name and is inspired by the famous tale of J. Louis Borges. The work was commissioned by Borges Foundation and will be presented in Geneva on the centenary birth of Borges.

Recording of Ming Wang's Monsterfest. This work consists of sounds from two different cultures during similar situations. It is meant to explore the idea of people who are transplanted into a different culture and the struggles that come with that. The composer states that the piece has 3 formal parts: 1.) Introduction and variation, 2.) Three-part "song" (A.B.A'), 3.) Covert recapitulation mirrored.

Recording of Robert Normandeau's Clair de terre. This work was dedicated to François Bayle for his 70th birthday. It is a complete rework of the original piece which was composed in 1999. Each of the 12 movements have been modified. The movements are: 1. Cadre étroit (espace clos) [Narrow Frame (Close Space)]; 2. Couleurs primaires et secondaires [Primary and Secondary Colors] ; 3. Mobilité des plans [Camera Mobility]; 4. Montage rythmique [Rhythmic Editing]; 5. Montage métaphorique [Metaphoric Editing]; 6. Clarté (Žblouissement) [Brightness (Dazzling)]; 7. Taille des plans [Proportion of Shots]; 8. Durée des plans [Duration of Shots]; 9. Couleurs ternaires [Ternary Colors]; 10. Micro-montage [Micro-Editing]; 11. Obscurité [Darkness]; 12. Cadre large (espace ouvert) [Wide Frame (Open Space)].

Recording of Nicolas Sordet's Lai contre-fait.

Recording of Rainer Boesch's Espaces V. The composer based this work on the sound of wing beats from pigeons.