This piece was included in first electro-acoustic recording in Mexico under the Colección Hispano-Mexicana de Música Contemporánea. Agua Derrramada is the sonic result of my perception of spilled water with different recipients. The instruments used for this piece are one Arp 2600, one Korg 3100 and a DX7 with no sample technique involved.

Recording of Yvon Magnette's Akymyle.

"...als ob’s aus dunklen Fernen rief..." ("as if it was calling from dark remotenesses") was produced as a commission of the Hungarian Film Factory MAFILM in the Electronic Music Studio of the Hungarian Radio Budapest in March/April 1984. The title comes from the poem "Alone with the sea" by the Hungarian poet Endre Ady, which inspired my composition: remembrances that emerge from the eternal roaring of the sea. The time structure of the composition was derived from the Fibonacci-Progression 1,2,3,5,8,13,21,34,55,89,144,233,377,610. The total duration of the piece is 610 seconds. In the studio a MOOG-Synthesizer (Moog III) with two keyboards and two sequencers was available. In the first week I explored its possibilities and determined eight different sound materials. Then I composed the single layers. The first material is coloured noise, from which gradually the other seven materials emerge: frequency modulated sounds, noisy tones, tone sequences and so on. In this way I created a continuum with similar sounds in always new constellations. The eight different materials were recorded one after the other on an Eight-Track-Tape-Recorder and then mixed to a stereophonic version.

This work was made from basic material taken from human voice and electronic sources and was ended at the beginning of 1984.

The fun title of work : "Amphora" (for Tenor Saxophone and tape) is four movements : 1. Snake Chari 2. Bazaar 3. Prayers 4. Amphora SNA

Recording of Charēs Xanthoudakēs' Anamorphoses for tape.

Recording of Andrea Libretti's Anarmoniosis .

It is a mixed piece for percussion and electroacoustic support. This one was realized in 1984 at the Berlin Technical University Studio with technical assistance from Folkmar Hein. The CD interpretation is performed by percussionist Martin Schulz. From a formal point of view, the piece divides into two different parts. The first is a permanent game on acceleratins, with the evolutions of a serious bell-shaped sound as alternative of speech. The second feeds on the musical gestures of the first, arranged in an open spatial context and very spread out. Percussion fuses totally with the electroacoustic medium, giving rise to a real perceptual unity. The electronic materials of the support were produced with a Synclavier and an ARP synthesizer. The Doppler effects at the beginning are produced by devices developed by the Berlin Technical University Studio.

Composed in own studio Fragments of "The Beatles" were utilized, selected by their characteristic turns, rhythmic plans, melodic lines, the processing of the voices or the orchestration. The fragments were modified through traditional procedures (cut of tape) and articulated according to diverse associative elements. The polyphonic superposition of the layer respects the tone Beatles's tone according to the sensitivity of the composer.

Electronic compositions Arcanum [Secret] is based on a computer-generated score and a defined distribution function which were utilized in the construction of the compositions. They use precise tone heights in the microtonal interval systems on the basis of characterized tone clusters and alternating chords. Arcanum uses tone pitches given in frequencies in bound positions from 50 to 5,000 Hz. Couples of random numbers limited by the interval from a major second to three octaves became the first and the tenth tone of the desired block of sinus tones. The other eight tones were put in regularly or at random according to a defined distribution.An electronic computer composition Arcanum lasting 12'2" min., has been created using selections from fifty such groups of sinus tones and their arrangements.

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.

Recording of Juan Blanco's Bucolica.

Recording of Michal Košut's The Cathedral in Coventry.

La chambre secrète is the first piece for a 9-voice musical ensemble composed after the work of Alain Robbe-grillet. It uses a small part of original text, principally three fragements in evoluationary connection with the figure of man and his situation in space. These threeThese three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. These three fragments, in turn, cut up, exploded become generators of sound forms and also of new meaning. The structure of the piece is determined by the principle of moebius: closed loop on itself, but whose contained exploration reveals two different faces. The origin of the sound material consists of three readings of the original text by Michaël Lonsdale. The sentences or fragments of sentences retained in the elaboration of the piece are often reconstructed from these oppositions, the different syllables of a word being able to belong to one or the other of the three versions. . This process of recomposition opens perspectives of a musical work on the voice which is located …

"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 …

Recording of Michel Pascal's Chute Libre.

Written for two analog, polyphonic and programmable synthesizers. This first sequence is a bit like a traditional sonata at the level of the spirit that governs the 4 movements that compose it as well as some formal concerns. However writing for synthesizers is a matter of instrumental design is typical to this instrument all that concerns the sounds used as the game modes, especially the systematic use of filtering as a game element or "montage" programmed sounds.

Recording of Tera de Morez Oyen's Dances of Illusion.

This is a work based on the idea of a studio filling an orchestra. The introduction is obviously a play on works by composers such as Copland and other works by contemporaries of Copland, a play that quickly demonstrates the power of electroacoustic music to deal with large and colorful sound patterns. The development of the material and the structure is clear. There is also an obvious relationship to "Minimal" music, in reference to the way in which certain small models are structured together. After experiencing the North Sea, "Dawn" was a way for me to escape the spell of winters.

This is a personal recollection of a Paris which I never knew. It is an anecdotal remembrance of Jean Baptiste Joseph Fourier with more then a nod to Raymond Roussel and filtered through the radio of Jean Cocteau’s taxi. This is the Fourier of the mathematical memoir, On the Propagation of Heat in Solid Bodies, a somewhat controversial view at that time in which the author described the diffusion of heat by a partial differential equation which could be solved using an infinite series of trigonometric functions. The equations for Fourier analysis as it has since become known, also turned out to be very useful in the analysis and resynthesis of sound (which is very much like slow heat), and as such could be described as an infinite series of sine waves of different amplitudes, frequency and phase. Joseph Fourier was also the scientific advisor for Napoleon during the French invasion of Egypt in 1798. Beside his papers on mathematics, Fourier spent several years writing the Description of Egypt in 25 volumes and which Napoleon extensively rewrote, essentially changing history before it was allowed to be published. With its second edition however, Napoleon himself had become written out of the …

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 work was premiered September 15, 1984, as winner of the 1984 Newxomp Competition. It is the second of three pieces which together form a set. The piece is dedicated to my daughter S. Michelle, whose singing voice provided a model for many of the synthetic voices, and also to my old friend and teacher, Mr. John R. Brasher.

Recording of Pierre Mariétan's L'eau sourd, bruit, chante. This is a work for electronics that includes sounds of water.

"Eibbed" (Debbie spelled backwards) is a work that tends to unify classical forms with "created" structures thanks to the similarity of sound. There is no deeply philosophical thought behind Eibbed. The piece has instead been composed on "comfortable" (soothing) sounds for the ear, whether or not familiar with electroacoustic music. The sound sources are based on glasses (different sounds of 2 beer glasses that come in contact, friction, shocks, etc ...), a torn newspaper and electronic music designed and developed on the Fairlight computer. The purpose of the piece is to connect tonality and atonality. It was made to show that I believe there would be much more room for tonality in contemporary works than modern composers allow. We do not do exhaustive studies of tone. Eibbed was composed under the direction of Jonty Harrison in the electronic music studios of the University of Birmingham in May 1984.