Recording of James Aikman's Fantasy. It is a work for violin and tape. This piece is in five short sections ranging from lyric to bold sounds and there are quarter-tone inflections in the tape part. The violin is sampled and digitally edited which is used tp provide the bulk of the tape dialogue. There is also use of synchronous music with the soloist and the tape. The last instrument and technique is composing a unified free interplay where synchronization is not indented.

Recording of Jan Pascal Alagna's News.

Picture yourself travelling at ease on the train. As you look through the window, you notice the power cables, which run parallel to the tracks. As your eyes follow them, they seem to turn giving the impression of a volume that gently and continuously rotates as it changes shape. This flow seems to accelerate before being momentaneously interrupted by the posts that hold them at more or less regular distances; this is immediately followed by the previous soft change as you recapture the perspective of the hanging cables. Of course, you easily deduct how the illusion works and soon are off onto something else more productive. But imagine you were in a position to determine a few things beforehand, says the distance between posts. Or, if you are of the impulsive "hands on" type, imagine you were able to change the speed of the train instantaneously at your will. You would then be able to effect changes in the evolving pattern of the cables and on the rate of the change itself, thus giving the whole illusion a direction and a life of its own right in front of your eyes. In Acuerdos por Diferencia I have attempted to draw …

Recording of Claudio Ambrosini's Il satellite sereno. This piece revisions how early electronic music utilized certain sounds. The beginning white noise is used as a time marker. Then, it closes with an unexpected minimalistic section. The marimba transforms its timbre to eventually become the white noise heard at the beginning.

17 articles of the Declaration of the Rights of Man and Citizen extracted from the French Constitution of 1789 are read by a 100-year-old woman who was born in France and grew up on the island of Nuku Hiva in the "Marquesas Islands" . The sound materials of the piece were recorded there in December 1988. The work is dedicated to the village of Anaho.

Murmure is an electroacoustic piece for magnetic tape alone. It was created at the request of David Olds as part of the radio show "Transfigured Night". There are many myths that attribute the creation of the universe to a breath or a cry. From primitive African societies to Vedic texts in India, in China or among the Inuit peoples, we find universally a sound at the origin of the different cosmogonies. The astrophysical theories of the twentieth century do not designate the first seconds of the universe by the term "Big Bang". Murmure weaves in a few minutes the long course of the original breath to the human voice. The piece is both part of a musical theater on the dream called Meander.

This piece is based on an improvisation from concrete and electronic sounds that are No plan of any kind preceded my different work sessions in the Studio and most forms (sound events) were produced only once on an 8-track recorder tape recorder. Instrumental improvisations made by Luis Boyra (Electric Guitar), Roberto Garcia (band manipulations), and myself (flute) can be heard throughout the room ordered from rather crude raw recordings to elaborate mixes (fragments pieces of tape for myself and the band Sol Sonoro).

Eduard ARTEMIEV: 12 looks on the world of sounds The piece was made in 1970 with the ANS synthesizer from Murzin. The work begins with an introduction made with an instrument of the family of jew's harps, the "Temir-Komonz", Kyrgyz instrument whose sound is produced by the pinching of a small steel blade and whose resonator is the oral cavity . During the performance, there is a permanent drone, the basic sound of the harmonic scale. The melody is modulated by changing the opening of the mouth. In German, it is called "Monltrommel" (drum of mouth). 12 parts: first part: "The acoustic versions", second part: "The spectral line", third part: "The decomposition of the stamp", fourth part: "The harmony of the timbre", fifth part: "Variations of the movements and of rhythm ", sixth part" The inverted harmonic versions ", seventh part:" Horizontal-vertical polyphony ", eighth part:" The variation ", ninth part:" The symbolism ", tenth part:" The mounting of the stamp ", eleventh part: "Free play", part two: "It's the same timbre in a free game of all its harmonic sounds that are reproduced in a free rhythm on an equal dynamic level. To continue these variations could be interesting. …

Recording Eduard Artemiev's Impertire Tempus Cogitation.

Recording of Eduard Artemiev's L'Océan.

Recording of Patrick Ascione's Espaces - Paradoxes. This work is made up of six movements: Couleur Split; póles inverse; Ecran de fossiles; chansons sphérique; tessons bleu; and damse monochrome. The alternation of spatial imagined situations that oppose each other, respond to or overlap each other; in return, giving meaning and life to the sound form themselves. Thus, a specific form of speech is dependent on the simultaneous and successive perception of all these planes, trajectories and centers of transmission of distinct sounds in the air.

For being the round world, who walks away in the East looking for new landscapes, after many trips and adventures he will return to the starting point from the West ... perhaps without wanting to or looking for it. By listening to these 4 instrumental pieces, you will think that they consist of an interpretation made for traditional music instruments. However, for me, the composer is nothing but a new experience in the field of technological music. In this case the experimentation consists of a program that improvises, plays, exchanges in many different ways an initial succession of tones giving rise to very different sound tissues. It is an experiment of the same complexity and quality as others that I have used in the past and that have given me totally different sound results. In this case the experimentation uses shades of defined and adjustable height, creating clear intervalic, acordic, polyphonic organizations, etc. In this domain, a similarity with instrumental music is inevitably obtained. I did not want to avoid this reality using bands of noise or continuous changes of harmonicity, but, on the contrary, I highlight the winter using homogeneous sounds that parody some known acoustic instrument. The four …

I feel that a revolutionary process is like a powerful and blind wave that emerges from the well of history until it reaches the surface of the present time by bursting with thousands of throats that sing and shout like a great choral mass announcing the beginning of new relationships among human beings, new hopes for humanity. This feeling has for me an eruptive musical force and I try to express it from "Once upon a time in France" where, with electronic sounds , I use a collage of texts and songs extracted from the materials that have been proposed to me by the organizers of the Festival, as expressive elements for the realization of my musical composition. I made this piece with a lot of love: -amour for France which for so long has been a light of freedom and culture -amour for its revolution and love for the idea of ​​the organizers of the XIX Festival de Bourges to provoke a meeting between creators and musicians of the world who sing the same historical festival, the same symbol, the same ideal: the French Revolution.

"Rays of Freedom" is a fantasy about a sound, a spoken phrase and a contemporary song from the revolutionary period. Some images of the Revolution in Alsace served as a point of reflection for the work: especially that of the Public Prosecutor of Strasbourg, Euloge Scheider, who during the Terror turned from village to village at the head of the revolutionary tribunal, accompanied by the guillotine ; but also the more than sixty bells of the churches of the Upper Rhine, deposited on the banks of the Ill to be transported to the foundry at Strasbourg, which never reached their destination; because the greater part of the Alsatian population of the time did not understand the French and the declaration of Euloge Schneider: "We have just celebrated the feast of reason, and since the reason is an absolutely unknown phenomenon in this world. country, we have provisionally replaced it by terror "; the arrival in Strasbourg of Saint-Just and Lebas, which unleashed an inconceivably bloody period; the Great Escape of Lower Alsace. However, none of these images are illustrated by music. The title comes from a song celebrating the taking of the Bastille: "See through the darkness / The rays …

Work done in the Electroacoustic Music Office of Cuenca with the technical support of Leopoldo Amigo. The gesture is at the base of almost all my musical works. The latter does not escape this constant. The word, perhaps the most complex physical production of man, has been in this case the chosen gesture generator. Sometimes whole, sometimes sectioned in tiny quanta, some of the words of a poem of Clara Gari's Finist Rae Transitions give physical support to the time over which the work is carried out; they are things that happen in the atomic fact that is the work. In them - and only in them - is the possibility of the existence of 'It is an amber bird.' Therefore, and because they exist independently of what happens, they are substance. I have only established the relationships, the configuration of the word-objects that form that work. And the configuration has been made thinking that the structure was made possible thanks to the shape and that at that time I was building a figure of a possible state of things in a logical space. Anyway, any comment about a paraverbal discourse, such as Music, seems as meaningless and contradictory as …

Recording of François Bertrand's Étude aux Vibrations.

In one of his rare writings about music, Scelsi proposed a parallel between the formal elements of music and the emotional and affectionate aspects of the person. This concept has always fascinated and inspired me in my conception of new music, and might be interpreted as a powerful language of music, capable of relating perceptive modality to the physical power of man. This is an element which could be used as a source of inspiration, if one derives inspiration from the strong suggestions of nature, who with her great capacity for life, leads the way on a constant search for the re-discovery of the primary, that is, original, sonic sphere of man. Trasparenze is a timbric-phonic play between the density of the tape and the sounds produced by the flute which is principally addressed to eolian sounds. The formal development maintains a gradual timbric transformation of the sounds influencing the sphere of the space-time perception.

Radiophonic piece, written after impressions received at an exhibition "Insolitudes" proposing plastic works by Louis Aons and a book-fiction by Eugene Savitzkaya. "Capolican: the secret of fabrication, need to have brothers and sisters, but he has nothing more to ask of his mother, except that she is silent and disappears." Then following the advice of the Rooster, he creates the mold from which they will come out, content with his factory, what will he say? " Using flanges of the text of the author by its sounds but also by the impact of the word, I wanted to show a fragile balance between this morbid aspect and the humor that can emerge with a little hindsight. Bitter flavors, ephemeral fragrances. Between the inside of the charnel house and the edge. Difficulty to live this possible imaginary or to discard these sharp blades. An alchemy of material where we stop, dream and go back to sewing, without being able to take. Craftsman of a thread. I wanted to thank Pierre Gralepois for his collaboration.

Piece written as a series of movements with different paces using concrete materials generated by the human breath. Theatrical space littered with realistic elements, a plot takes place in an exotic landscape. Opening of the "clap" and discovery of a theme with drawn figures, tense, fast, brief, where we feel the flight, the pursuits, the stops. Limit scenes, on the lookout exhibiting the anguish of the head, a very close space probably violent, very animal expressionist cries, existential, revolted perhaps those of unreason. Other images are drawn from some elements of this theme bringing other wider spaces deeper, moments of rest and why no worries. Images of this divine and nocturnal life, in contrast where the sound universe rocks, the night is something else. Appearing again of the theme twice in the form of a leitmotive giving a glimpse B.D in duality with the dramatic rise of the story. Difficult situation, always breaking inevitably bringing panic, the last run distraught. Caught in the whirlwind of the Horde, some rebounds, traces, snatches of this life. The cry of being.

Recording of Thomas Bjelkeborn's Bilad.

Although composing a piece for tape in an electronic music studio involves a close relationship with modern Western technologies, I hope Gyuto evokes images and energies that submerge far and away the "high tech" machinery used in its performance. Inspired by the well-known Tibetan Tantric Monastery Choir Gyuto, this work generates itself abstractly Tantric spiritual beliefs and directly sounds created by the monks during their songs and rituals. The chants sung by the monks are used parsimoniously throughout the entire work. Structurally, Gyuto is composed of five general movements. The work opens on the image of the monastery, perched on a mountainside and ambiances when the monks, by their songs, invoke various gods, concentrating their energy to better explode then, radiating through the face of the world, resonating with all creation.

Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.

Jan Boerman: Unleash II (1984) "Unleash II" for percussion, live electronics and tapes was composed in 1984 for the Johan Wagenaar Foundation. "Unleash II" is one of a series of three pieces, namely: - Unleashing I (1982) for tape and electronics. - Unleashed II (1984) for percussion, live electronics and tapes. - Unleash III (1985) for bands. These three pieces are - in terms of tapes - from the same electronic equipment. The shape and development are totally different. However, identical nuclei are found in every room. The live electronics in "Unleashing II" is limited to trial and error (with contact microphones) of a sound pipe, a gong, a tamtam and an aluminum plate, as well as amplification. respectively the choking of the high and low elements of the sound.

Is a kind of concert radio art. Concert Radio opening for the death of Dantsy de Büchuer.