Recording of Klaus Ager's C.L.B. 512 for clarinet and recording.

"Hapsis" is a cello room in its own right. This one indeed is present not only on stage, but also through transformations carried out using digital means, exclusive material of the band. These transformations are not radical, it was not for me, thanks to virtuoso manipulations to "reinvent" the cello, but on the contrary to constantly keep the imprint by the development of some of its characteristics. No unheard sounds, but the meeting between a cello and his double and a constant concern for balance between the two for what I hope to be a small tribute to this instrument. Work done at the INA-GRM in Paris.

This composition is based on a magic square, which is on a copper engraving by Albrecht Dürer, entitled "Melencolia I" (dated 1514) The figures 17 and 34, resulting from the different additions, represent in this magic square as well as in my composition of the structural values. Numbers penetrate the composition in multiple ways, take the foreground to disappear to become elusive, rise to the surface to fall back into the vagueness. But it is still the magic square of Albrecht Dürer, without overturning or shimmering. It is not a matter of twelve-tone or serial technique. According to the rules that I asked myself, the figures of the magic square were joined by lines and geometric shapes very varied resulting that inspired me strongly by their symmetrical beauties. At the center of the composition, I worked with fifteen "mutants" of the magic square that originated from the fact that I always took another number (1-16) as a starting point. They do not have the same magical qualities, but have the same beauty of symmetry. I put them into a computer program to focus on "unreal" atmospheres as in a perpetual meditation, the composition circulates as part of this magic square.

It moves..., It moves not... is concerned with rates of change. The initial solo shakuhachi section opens with a ‘model’ structure which is continuously transformed to reveal the potential for change within the original form and a certain inherent resistance to this process. The tape part, realised at the Birmingham University Electroacoustic Music Studio, aims to reinforce or contradict the types of movement in the shakuhachi part, whilst retaining a degree of independence. Much of the source material for the tape is derived from the sound of another Japanese instrument - the shamisen. It moves..., It moves not... was commissioned in 1986 by EMAS with funds provided by the Greater London Arts Association. In addition to analogue source sounds the tape part uses synthetic material, realised in Music-11 at the electronic music studio of Nottingham University.

Recording of Wes Richard Wraggett's La mer de lumière.

Dedicated to Hélène Berton Sound Production based on texts from Marie Uguay Voices (by appearance order): Marthe Turgeon, Jean-Pierre Matte, Marie-Claude Trépanier, Gilles Laforce. The reading of the used texts suggest the creation of "poetic characters" that are so many views, words, interpretations stemming from the poetry. These caracters, which are four in number, were confided to many different voices: actor or radio-speaker, female or male, natural or transformed, alone or multiplied. In addition to this radio-style uses of the voice, are the electroacoustic ones by the use of interpretation choirs where the narrators echo the many-sided meaning of the poetry. The tittle was choosen in reference of an hospital room and also of this place, represented by the white colour-which included all the others-located between the birth and the death, maybe the ones of Marie Uguay (who was prematuraly dead in 1981 at the age of twenty-five), where all the virtualities, all the possibles are permitted. La Chambre Blanche was realised in 1985-86 at my own studio and at the studio of University of Montréal. This creation was possible following a grant from the Explorations program of the Canada Council. The texts of Marie Uguay come from the anthologies …

Recording of Philippe Blanchard's La Boîte de Pandore.

This is a concrete piece made in 1986. The sound materials in opposition are a "crash" hard, metallic and a serious white noise. However all sounds derive from the same source which is the recording of a train. The ways of recording and the sound world alone, can be seen as a cordial greeting to the financiers of electronic music.

"Wet" mainly includes computer-processed sounds. The rest of the sounds are produced by synthesizers controlled by computers and an acoustic violin.

This piece consists of connection of the "unit" of sounds. "Unit" has 18 minutes each and all. 12 patterns of the "Unit" have the original arrangement of sound-image, time-structure, reverberation, auditory localization, and arrangement of the series of time by the random operation (Monte Carlo simulation) or the structure used long tone only. The connection of the "Unit" was operated by the 3 kinds of random-numbers. (Uniformly random number sequence). There are 2 kinds of the water-tone. One is the sampled sound that was rotated and modulated of its waveform by digital sample. The elements of this sound were used from the recorded natural river sounds; sample late is 33 KHz. The other is the synthesized sound by FM tone generator. This isn't a natural sound. The group of the connection of the "Unit" by sampled sounds come on the group of the same connection of the "Unit" by FM synthesized sounds. The computer was used as the controller of these "Unit's", Aleatonic compose.

The composition uses the traditional structure of theme and variations in extended form and therefore could have also been called "Variations on a Children's Dance". It may be divided into four parts. 1) introduction of a part of the transformed theme 2) transformed variations on the theme and its variations 3) the theme 4) variations on the theme The theme (3) is a little Hungarian gipsy children's dance. I composed, realized and stored it and the variations on this theme (4) on analogue tape in 1983. The sound is produced by 24 analogue and 16 digital oscillators with the help of my own music program ILI (Interactive List Interpreter). After I built up a software communication system between different signal processing programs (Makrostikon), and after Paul Pignon`s Giant Fourier Transform program was ready to be used, I started to work on the piece in 1986. The new softwares allowed me to to continue work on the original material {3, 4). To start with, I digitized the theme and its variations (3, 4) made in 1983, and stored them in the VAX computer system of EMS, Stockholm. The working procedure afterwords included analysis, resynthesis, transformation and mixing. The underlying structure of …

Recording of Ari Taskinen's The Marriage of Hell and Heaven.

Recording of Johannes Poort's Berg.

The work was written in September and October 1985. The work was born from its first note, a violin note generated by computer and reverberated beyond any reasonable limit. The "off-tone" parts are really based on a 13-tone diatonic chord with some incursions into 48-tone diagrams. "Water Music" was performed on Stanford's system synthesizer (the Samson box).

Elasticity begins with the sound exploration of very simple materials, especially elastics. Through extensive studio manipulation, the sound has been transformed until it is far from resembling the original material, in its place, buzzing and liquid textures combine to form an imaginary space. Work done at Simon Fraser University.

The business language of communication is the starting point of my septet. The language is broken down here in their smallest elements. By this there is not a semantic relation, but a phonetic plain which has come into being. The singer uses vowels, diphthongs, later consonants. The parts become more and more full of noise and have only heard the explosive consonants. At the same time, the electronics continually envelope the part, and after the time of the greatest modulation.

"Acufeni" are auditory phenomena: hearing buzzings or hisses that are not outside but inside ear. Briefly: one cannot stop these sounds anyway. So, nearly all the sounds in thie piece are long, dark, and static. A "pedal" bass tone goes from beginning to end; throughout the 10 minutes, it raises its pitch very slightly from E-flat to A-flat (approximately 1/2 tone each two minutes). Either sounds make different episodes; sometimes, these episodes are based upon contrasts. More frequently upon repetition. How to listen to: darkness (or closed eyes); calm; not searching for anything in the music, but quietly waiting for it, aware that it could also never come.

Recording of Ronald Philippi's Proces.

Impromptu for tape was comissioned by the Experimental Studio of the Polish Radio in Warsaw in 1986. It was produced with the assitance of Barbara Makowska-Okon using electronic transformation as well as old fashioned techniques of tape splicing and manual tape speed control. The material was concrete and consisted of recorded sounds of instruments and crying chlidren.

Recording of John Celona's Emerald Soft.

Material on the tape exposes continuous, rotative movement which we meet playing maracas when they are vertical and turned around axis. We have here a movement around and falling off of little grains from axis. That why title is "Girare" - in Italian "turn" ("twirl"). From here continuous, subtle disturbances and results from them dancing together in rhythm. In the percussion part, the idea of continuity gradually evolves.

Aeotearoa is the original Maori name for "the country of the long white cloud". The singing of these unique birds was recorded in New Zealand, then transferred to a digital recording and processed at the EMS of the University of Texas at Austin. 1) The Kokako is native to New Zealand and normally lives in the rain forest of the coast. His song perhaps evokes the oboe d'amour. It consists of a series of motifs, unique by the bird. Here the composer was particularly struck by the motif that ends with a rising quintile and has used it a lot in this movement. These motifs are sung here and there, sometimes with variations of rhythm and arrangement of notes, but always followed by a pause as if, perhaps Kokako was waiting for an answer. These long breaks determined the shape of this movement. After a while the bird gets an answer, maybe a little different from what he expected. Kokako is one of the endangered species. Thanks to the careful protection of the New Zealand government, it seems that he can be saved. 2) The bell bird lives mostly in New Zealand. At the first meeting, it may seem like …

This piece is written for three trumpets, two trombones, tuba and harp. Some electroacoustic transformations of these instruments enrich its texture with new sounds. The three movements form contrasts of each other. In the first movement alternate fixed and released rhythms / parlando-rubato-allegro. The second movement has a free texture. On the contrary, the third is a rhythmic and fast movement. The performers of the pieces are: Gy. Geiger, I. Trumpet / L. Szabo, II. Trumpet / I. Somorjai, II. Trumpet / G. Höhna, I. Trombone / K. Egressy, II. Trombone / V. Szabo, Tuba / E. Maros, Harp. Sound engineer: P. Winkier

In short: the "support" on tape is a very capillary tension of the "Fantasia" for flute alone. The canon - in 4 parts - of the "Fantasia" is realized (here it is only a tale "virtual" and melodic point) by groups of four voices each; the most acute of the groups is a game of echoes with the same note as the flute alone. In addition, within the 24 parts, several sizes all specular shapes and three transpositions (1/3 of a tone each time). The three inner groups are recorded with a contralto flute. Always by Roberto Fabbriciani. The stylistic goal is to get a labyrinth delirious around the solo instrument: like a huge vegetation that stifles a small plant.