Recording of Otto Luening's Alice Shields (excerpt).

Recording of Tadeáš Salva's Alidvoty "Les harmoniques."

Recording of Pedro Caryeyschi's Analogias paraboloides.

Recording of Stanislav Kreitchi's The Ann's confession.

Recording of George Brunner's Anthem. This is a work for electronics.

Recording of Alain Savouret's L'Arbre et Coetera.

Recording of Horacio Vaggione's L'ascension d'Euclide.

Recording of George Brunner's Atlantis. This is a work for electronics.

Recording of George Brunner's Atlantis: She Stood Weeping. This is a work for electronics.

Christian Clozier, at the invitation of the Experimental Studio of Polish Radio, went to Warsaw in April 1987 to work on the realization of this piece which he finished on his return to the GMEB (final mix). He had developed in Warsaw the electronic materials of the work and had modeled and developed them in pre-structured sequences that constituted the story of "In the morning". The play is in four parts: first the introduction followed by a movement of a dense and dynamic sound gestation on the establishment of a quiet and expressive part although of great intensity. The last movement is built and articulated by sequencing and mixing sequences in the field of timbres, heights and temporal energy.

Recording of Leo Nilsson's Aurora.

Recording of André-Luc Desjardins' Autodafé. This work is a rhythmic piece with soprano saxophone improv, percussion, and electronics.

Recording of Jozef Malovec's Ave Maria Stella. Ave Maria Stella has been sung in monasteries from the Middle Ages to the present day. The lyrical poems have undergone various musical adaptations from the Gregorian choirs to popular songs, by numerous anonymous authors. The lyrical poem has a philosophical and spiritual orientation. This electroacoustic composition is inspired by the Ave Maria Stella made using electroacoustic sound transformations, embellished with quotes from different versions of this song.

Recording of Mesias Maiguashca's Ayayayaya.

Recording of Ivan Patachich's Ballade. This work strives to adapt popular music electronically; its basis is a popular tchango ballad. The sound material of the piece includes the spoken text in prose and sung of the ballad, as well as the concrete sounds characterizing the ballad (sounds of carts, cries of pain, floods of water, etc.). All the parameters of form, rhythm, dynamics, as well as synthetic sounds are given by the indicated numeral series and by the derivatives. It consists of eight formal parts (movements). The structure is two voices, stereophonic.

You are crazy my child, you have to go to Berlin, where there are crazy people, there is your domain! Come only once to Berlin, then you'll be surprised ... yes, it's Berlin air, air, air, air ... It was like that, huh? Do you think I love you only because I'm dancing with you??? Come, Prince of Prussia, come to Berlin! Cleaner of lamps, he is, my father, at the Municipal Theater of Berlin ... Start! Now! Say so then! Back off, the train will enter the station! The first, the second ... People today, they are all so nervous! Who throws clay there? I just like it, I like it!!! Do not let the engine warm up, say so! That's enough for me, I go first to "Dorle," drink a shot. The Viennese Waltz in Berlin, it exists??? The May 1954 demonstration, airplanes, factory halls, garbage. Do you think I love you only because I dance with you? Eisler: "Der Graben", der Graben (the trenches), der Graben (dig) Go back! I really like Berlin, but I think there is still more to do.

Recording of Stanislav Kreitchy's Birth of the vertical.

Recording of Vladimir Shielov's Bridsday.

The historic events in my country linked with the fall of the Communism in November 1989 gave us not only new dimension of life and unforgettable memories, but some precious sound material recorded by the alert radio people at the streets during the protest actions and finally during the historic days of the coup-d«etat, too. When I was commissioned in spring 1990 by the Prague Radio to create a new EA piece I decided, full of fresh emotions and memories, to use this (already historic) sound material but to create a strict music form which respects the chronology of historic events the same time. We can listen consequently the protesting demonstrators shouting their short phrases, the police speaker, the politician and his famous speech, the doleful outcries of young people beaten by the police forces and finally the outbursts of euphoria when the resignation of the old regime was announced, the bells of Prague (forbidden to ring during the Communist regime!) and the heart of Europe which began to beat freely again. The piece was premiered at the festival in Bourges in 1990 (and performed there again in 2000 and 2004) and performed in Grenoble, Switzerland, Austria (Vienna-Alte Schmiede), Norway …

Recording of Christian Clozier's Ca c'est ma petite fille. This is a work for electronics that includes French spoken word.

Recording of Russel Pinkston's Cabala.

Recording of Gábor Darvas's Cachot solitare. Sound material comes primarily from percussion instruments.

Recording of Gustavo Lara Paz's Cachu. For trumpet and electronics. This work explores altering sound with digital effects, accompanied by electronics.

Recording of Lucien Goethals's Cadenza. This composition is part of a work for orchestra and electroacoustic music. It is a solo for tape recorder, placed in the middle of the work. The basic material consists of electronic sounds (sinusoidal sounds) and concert sounds (instrumental sounds). The overall shape is the result of the superposition of a large number of simple sound layers.