Recording of Bogusław Schäffer's Concerto for tape.

Recording of Vittorio Gelmetti's L'opéra abbandonata tace e volge la sua cavita verso l'estreno.

Recording of Eduardo Bértola's Penetraciones for tape.

Recording of Rudolf Ružička's Gurges. The composer calls this piece a "space matrix composition." It was created on the strength of promulgation of international trial electronic and concrete composition "Musica nova." It was composed in Pilsener Electronic Laboratory in November 1969 .

Recording of Bengt Emil Johnson's Through the mirror of thirst.

Recording of Octavian Nemescu's "Concentric. A question with two answers." for instrumental ensemble and tape. The piece is a reaction to Charles Ives' "Unanswered Question," which is, in comparison, schizoid in nature, marked by breach, discord, disparity and incommunicability. There are three layered music layers in "Concentric" which join together to create a kind of communion that is timeless through the use of resonant harmonic issued by a fundamental sound C, placed in the deepest register, like a natural archetype (of a cosmic and supercosmic presence coming from the depths of existence).

Recording of Werner Kaegi's Hydeophonie I for 4-track tape. It was composed and realized in 1969 in the studios of the Institute of Sonology in Utrecht (Holland). The piece is based on the possibilities offered by a generator with a variable function which, at the time, preceded the digital computer. Kaegi's work is based on programmed and descriptive structures. All the musical material was generated in a purely synthetic way, all resembling the "reality" having come only from the musical structures.

Recording of Christian Clozier's Lettre à une demoiselle. This piece uses music written on a newspaper, a sheet, in an attic, in view of an open window on an impassive river, at a flowery table, around two o'clock in the morning, in a low voice, in memory of the companions of the Pleiad. There are three movements: draft, erasures, and post Scriptum. This work also uses sound samples and recorded sound to allow for the poem to reach full expression and character.

Recording of Arne Nordheim's Solitaire.

Recording of Christian Clozier's En avant la zizique.

Recording of Christian Clozier's Marché calme et irrégulier.

Recording of Bohdan Mazurek's Sinfonia Rustica.

Recording of Alain Savouret's Kiosque.

Recording of Hugh Davies' Shozyg 1 et 2,2. This work was created by reconstructing and modifying 4 instruments (an egg slicer, Aeolian harp, guitar string, and various springs) whose sound progresses from monophonic into stereophonic. The composer intends the piece to be performed with 4 speakers.

Recording of Douglas Lilburn's Summer Voices.

From his piece "Torrent", he says that it was composed in 1969 on the ANS synthesizer in the Moscow studio. It is a canon whose theme is the scale of natural sounds (first and sixteenth). The graduated superimposition of the voices of the canon even towards culmination and after towards tranquility.

"This piece made in 1969 with extremely modest means was integrated in 1972 into a triptych, Assemblages, which accompanied an exhibition of "Volumes éclatés" by the sculptor Michel Anasse. It can be considered the third of my "presentable" studies. “Energies” was part of the material submitted in 1988 for the first "Magisterium" of the Bourges Competition, which was obtained. "

"Act of Openings" is a stereo composition made with Moog analog synthesis modules. Composed in 1968, its duration is 17'27. The score of the composition is a dense and modulated sound characterized by carefully controlled phase relationships. All the rhythmic and harmonic elements of the piece derive energy from a long, brilliant sound. Each part of the room is another glimpse of this sound, as a set of flowers form a bouquet. "Act of Openings" received the 2nd Prize at the 1969 Dartmouth International Electronic Music Competition.

Recording of Alain Savouret's Kiosque. This piece was created for live instruments and stereo tape. It's imagining a situation: in the center of the kiosk, someone is playing the score of their existence. Like any concert in a square, it is disturbed, distorted by external manifestations, foreign to the score. But here, in this particular situation, it is musical actions, taken over by the instrumentalists of Opus 9, which will disturb, prevent or perhaps facilitate the performance of this score.

Recording of Arne Nordheim's Solitaire. The composition was composed for the opening of the Museum Sonia Henko-Niels Onstad Foundation Museum of Contemporary Art in Oslo. The primary assumption of the composer was to give the composition in audiovisual form in which the latest technical possibilities of sounds and light projection would be utilized. However, this composition exists also in concert version, deprived of extra musical elements, in which a significant role is played by the spatial configuration of the composition realized in the original in a four channel version/on the record the Solitaire has a two channel form. Insofar as the sound material is concerned, the composer utilizes equivalently electronic instrumental and concrete sound, excusing the differences, which exist between them, and creating a uniform cohesive organism. It is worth emphasizing the unnatural richness of tones changing similarly to Schonberg's "Klangfarbenmelodies". The composition was realized in 1969 by E. Rudnik at the Experimental Studio of the Polish Radio.

Recording of Lucien Goethals's Studie VI. The basic material is rectangular waves. This material is subjected to various transformations by filtering. The octave is divided into 24 equal parts--it's quarter-tone music. Various sound layers (rhythm - melodic) are superimposed which gives form to a polyphonic playing. So it is mostly linear music with no use recorded sounds.

Recording of Jon Appleton's Times Square Times Ten.

Recording of Gabriel 's Batucadas. This is a piece entirely composed with electronic sounds. It is an elaboration based on pulsations that occur at different speeds leaning towards density accumulation. Static, shrill and strongly aggressive material that overflows the interrupted background of pulsations. The work was composed in 1973, during the last year of existence of the Laboratory of the Latin-American Center of High Music Studies of the Torcuato Di Tella Institute.

Recording of Coriún Aharonián's Que, spoken text performed by Armando Halty. All of the sound material, besides the spoken text, is electronically generated sounds. It was composed between July and October 1969 and was realized in the Laboratorio de Moesica Electronica of the Centro Latinoamericano de Altos Estudios Musicales of the Instituto Torcuato Di Tella in Buenos Aires.