The International Gaudeamus Music Week 1996

Amsterdam, September 2 - 8, 1996

INTERNATIONAL ROSTRUM OF ELECTROACOUSTIC MUSIC 1966

ABOUT COMPOSERS & COMPOSITIONS

SERGE ALEXANDROVICH BELIMOV (27-05-1950, Leningrad)
Graduated from the St. Petersburg Conservatory in 1975 after studying with O.A. Evlakhov and V.P. Chistyakov. After the conservatory, he did his post-graduate work with B.A. Arapov. He has been a member of the Union of Composers of the USSR since 1977, and since 1989 a member of the Board of Directors of the St. Petersburg Union of Composers.
From 1972 to 1992 he taught composition in the Choral College of the St. Petersburg Academic Cappella, and later on, in the College of Music of the St. Petersburg Conservatory. He is also an award recipient from the Order of National and International Composers Competitions. Beginning from 1985, when the composer was awarded first prize in an international C.M. von Weber Competition in Dresden with his String Quartet no. 1, his compositions received more attention in prestigious international festivals of modern music: the Tanglewood Festival (US, 1987), the Charles Ives Festival (US, 1991), the "Tage für Neue Musik" Festival in Zürich (Switzerland, 1992), the Dresden Festival (1985, 1986), Amsterdam (1988), Stockholm (1988), Florence (1991), Tokyo (1991), Arezzo (1992).
S. Belimov began his career as an author searching for himself on a way of a synthesis of Western and Eastern musical thought. His first symphony which espressively reflected this searching was later characterized by Belimov as 'an experience in reconstructing the world from fragments'. During this time of experimentation West European stereotypes of musical thought were shattered, and there was sort of attempt at finding more productive approaches. The tendency to combine the incompatible gradually gave way to the idea of a primordial universality, a universality as specificity.
"9.19.1990. The essence of the matter, a definite mode - this is a structure similar to genetics: to the number and sequence of chromosomes in the DNA molecule.
Modes which I have used during the last one and a half years allow for a truer growth of an entire composition from a single mode; a mode which is charcateristic only of this composition. This method of creation produces an absolutely individual organism which is in accordance with its unique structure. It is similar to something in the systems of Schönberg, but closer to the nature of intonation. A chosen mode may define the general structure of the composition." - from the journal of the composer.
Compositions from the past years which were written or 'grown' using this technique - "Third symphony", "Garden of Diverging Paths", "The Song of Morrow Awakening", "Vokaler Regen jenseits des Vergessens" - became landmarks on a new leg of the journey through a new landscape in the growth.
Since 1992 Belimov has begun to turn in yet another direction in his search by using a technique "supermode" on a micro-mode level. The microtonal composition "Derrière le miroir du silence" was played at the International Festival for Microtonal Music "In Tune II" held in England, March, 1993.

Vers l'autre source du flux
is a work for voice, flute and tape written in 1995 at Ateliers UPIC.
In the voice part of this work, the composer uses a perpetuel continuum between breathy sound, sung sound, and spoken sound; in the flute part, there is a continuum between breathy sound, normal flute sound and percussive sound.
In the organization of the sound material of the flute and the voice, the composer uses the "super-modal" technique that he has elaborated for the last five years, on the microtonal level.
The sampled sounds used to make the UPIC tape part were created from recordings of the voice and of the flute.

RODOLFO CAESAR (1950, Rio de Janeiro)
Studied electroacoustic composition with the Groupe de Recherches Musicales (GRM, Paris). As a student of Pierre Schaeffer, he worked with some of the most important composers of the genre. Returning to Brazil, Caesar graduated from Instituto Villa-Lobos, UNIRIO (Rio de Janeiro University). Besides teaching, he founded Estúdio da Glória with Tim Rescala and Tato Taborda in 1981. Caesar then completed a Ph.D. in electroacoustic music at the University of East Anglia, Norwich (UK). He now works in his home studio and is also responsible for the Music Laboratory of Universidade Federal do Rio de Janeiro (UFRJ). Caesar won the Composers' Desktop Project Award in 1989 and obtained mentions in the Bourges and Noroit competitions.

NEMIETOIA (1994) for tape
Nemietoia, an anagram for meia-noite (midnight), is a piece where the composer discloses his "gratitude and debt to nature, to the music of Gÿorgy Ligeti, and to trains". It begins in the manner of a nocturne: silence inhabited by very delicate events. They gradually move towards a climax where various materials blend.

HANUS DOMANSKY (1944)
studied piano with Jaroslav Shánel and composition with Ján Duchan at the Conservatoire in Brno. He continued his studies at the Academy of Music and Dramatic Arts in Bratislava in Dezider Kardos's composition class. He is author of several chamber and orchestral pieces. Since 1975 he has directed the Radio Symphonic, Opera and Chamber music department at the Slovak Radio Bratislava.

Hudba pre klavir - Music for piano (1994)
The acoustic fundament of the composition was realized in EMS Budapest and ExS Bratislava. The composition Music for piano employs electroacoustically transformed structural models from previous piano pieces by Domansky (Dythyramby, Bagately, Piano Sonata). The interesting result sounding of the piece was achieved due to thrilling technical figures, the wide spectrum of piano sound and electronic sound transformations.
The composition Music for piano was first played at the concert of New Slovak Music in November 1994 in live version for two pianos and tape.

LARS GRAUGAARD (1957)
Holds a flute diploma from the Royal Danish Academy of Music and began his career as an instrumentalist. He performs regularly in concerts in his home country as well as abroad, besides that he is also featuring on a number of recordings.
As a composer Lars Graugaard achieved increasing prominence in recent years, with performances of his works not only in Denmark, but also at festivals and concerts in other Scandinavian countries as well as Germany, Switzerland, France, Holland, England and North and South America. The chamber work Transformations was selected for performance at the prestigious Gaudeamus Music Week 1986, and the string quartet Quattro Fatti Al Rallenti won a prize at the 1989 Carl Maria von Weber Wettbewerb in Leipzig, Germany.
Upcoming events include a CD with works for sinfonietta and large chamber works with Icelandic CAPUT ensemble and conductor Christian Eggen and a CD with orchestral pieces with the Filarmónica de Querétaro and Sergio Cárdenas. Lars Graugaard is one of the featured composers at the Music Harvest festival in November 1996.
Lars Graugaard is Artistic Director of the ISCM World Music Days 1996 which will take place in Copenhagen from the 7th till 14th of September, and he is appointed composer-in-residence 1997 and 1998 at the Odense Symphony Orchestra.

TIMID SOULS
Timid Souls was originally composed for flute and interactive computer, but this final version is for flute and tape. The tape part was made on basis of a series of interactive interpretations, which were subsequently edited. The title bears no general reference to any content of the piece, but it does throw a somber light on some of the effects used in the piece.
Timid Souls was produced in January 1996 at DIEM, the Danish Institute of Electroacoustic Music, and is to be included on a CD where Lars Graugaard performs pieces by a.o. Cort Lippe, Takayuki Rai and Wayne Siegel.

RAGNAR GRIPPE
is born in Stockholm, Sweden 1951. He has studied cello at the Royal Music Conservatory, Music History at the University of Stockholm, Composition at Groupe de Recherches Musicales in Paris, and in Montreal at McGill University.Grippe's compositions range from electronic i.e. electro-acoustic music in conjunction with ballet and feature movies to chamber music and symphonic.
Grippe's music has been performed at La Scala bicentennial in Milan, Stockholm Opera, numerous international music festivals and in concerts in many countries in the world.Lately Grippe has premiered his septett at the Gotland Chamber Music Festival, and he has written many pieces for acknowledged interpreters, and will soon have his piano concerto recorded by the Radio Symphony Orchestra in Stockholm. Invited to lecture in the U.S., in the fall in Brasil and in March in the U.S. again.

Shifting Spirits
Shifting Spirits is commissioned by the Swedish Radio for the electroacoustic music festival in Stockholm in the end of September.Shifting Spirits is recorded in Grippe's studio, using the words and phrases from people far away, Irak, El Salvador, Iran, Afghanistan etc.
When one is presented to a new language that has no inherent meaning or semantic value, since one doesn't know the language, it takes on a musical quality that only the lack of understanding can render it. This is what I have used in this piece. These persons have all come from places where their roots have been torn and they have had to flee in order to survive. Shifting Spirits is a piece which will show the capacity of man, in his search for a life that has its values unbroken. (Stockholm, August 1996 - Ragnar Grippe)

TIMO HIETALA (1960)
represents more than one line of aesthetic thinking: he strives to combine different musical genres, in which style and content may be very antithetical. In Mr Hietala's opinion, multiculturism and tolerance, as well as an interest in all sorts of sound, are simply a part of the contemporary composer's totality of sound.
Mr Hietala studied in the Department of Music Education of the Sibelius Academy and studied composition under Olli Kortekangas from 1989 to 1991. In 1992 Mr Hietala was appointed instructor in Afro-American music at the Sibelius Academy. He has composed pieces for such performers as the Radio Symphony Orchestra, the Helsinki Philharmonic, and various big-band and chamber-music ensembles. He has also written music for film, theatre and radio plays.

In this sense, STRUTSI (The Ostrich) and its seven states of being typify Mr Hietala's music. The ostrich, the world's largest bird, has moved to the environment of arctic Finland. The composition encompasses short pieces - improvisations, of a sort - which explore the ostrich's various states of being. The composition took shape in close interaction with the performers. Sound designer Juhani Liimatainen, with his electroacoustic equipment, is one of the musicians. STRUTSI is a sort of free-form electroacoustic feature-length radio play which attempts, through brief, pictorial flashes, to depict the ostrich's different states without a clear beginning, end or musical form.

ANNA IGNATOWICZ (1968)
Born May 26, 1968 in Warsaw. Graduated from the Warsaw Academy of Music in 1996 after studying composition under Wlodzimierz Kotonsky and piano improvisation under Szabolcs Esztenyi. In addition to composing music, she is a teacher and publicist. Her works have been performed at contemporary music concerts and festivals throughout Poland.
Principle Compositions:
- From Over, From Under, From In Between....., for two pianos (1990)
- Chronicle of Trivial Events, for soprano saxophone and clavichord (1992)
- Turning Closed Spaces Inside Out, for orchestra (1993)
- Silence Breached by Distraction, for two marimbas (1993)
- Thus.... Memory Losses, for solo percussion and tape (1994)
- Signs of Insecurity, for harpsichord and organ (1995)
- It Is Only Time, for trumpet, percussion and tape (1996)
- Concerto breve, for percussion and symphony orchestra (1996)

It Is Only Time, for trumpet, percussion and tape (1996)
Anna Ignatowicz: We began by recording instrumental sounds in a studio: many, many samples of, say, a trumpet with various mutes, different kinds of unconventional effects that we could get out of the instrument. We did the same for percussion, except that the drum set was very carefully selected to match the sound we had in mind for the tape. The samples were processed by computer and edited into sequences using the Sound-designer application. These sequences became the raw material for the layers that were then produced, partly using the Sonic-solution application and partly in an analogue studio.
At the same time, I was writing parts for the live instruments - trumpet and percussion. The percussion set I envisaged for this part differed somewhat from the set used for the taped sections, which lacked the marimba, for instance. Due to the melodic nature of its sound, I gave the marimba the very important role of providing counterpoint for the trumpet.
Metal instruments dominate on the tape. They include cymbals and tubular bells, the sounds of which have been reprocessed several times. The taped sections also include kettle drums and few other smaller instruments, however, the sound material is very limited.
Occasionally the trumpet theme appears played on the marimba. There's a point where it can also be heard on the tom-toms, which are not melodic because they don't have a specific pitch, but which I forced to be melodic. More specifically this was done on my suggestion by Ryszard Bazarnik - to whom the piece is dedicated along with Michal Ostaszewski.
For her assistance, I owe a debt of gratitude to Barbara Okon-Makowska, who produced the tape with me at the Experimental Studio of Polish Radio in Warsaw, which commissioned the piece. I also spent some time working on the composition at the computer music laboratory of the Warsaw Academy of Music.
The piece premiered on February 5, 1996 at the National Philharmonic in Warsaw during the 2nd Witold Lutoslawski Forum. Performing it then were Michal Ostaszewski and Ryszard Bazarnik. The recording was produced at the Polish Radio S-1 Concert Studio in May 1996. (Anna Ignatowicz in an interview
granted to Marek Zwyrzykowski.)

ALEJANDRO IGLESIAS-ROSSI (1960)
Born in Buenos Aires (Argentina), where he lives at present.He studied composition at the Catholic University of Argentina (1977-79), the Boston Conservatory of Music (1980-82), and the Conservatoire National Supérieur de Musique de Paris (1983-87). His principal composition teachers were John Adams, Guy Reibel and Sergio Ortega.
Among the distinctions he received are the First Prize of the International Rostrum of Composers of the UNESCO (Paris 1985), the BMI Award (New York, 1984), the TRINAC Prize (Buenos Aires 1985), the Kazimierz Serocki Prize (Warsaw 1984), the Honorary Prize of the Fondation de France (Paris 1987), the Nadia Boulanger Scholarship 1988, the Prize of the City of Buenos Aires (1991), etc.
His works have been performed at the Georges Pompidou Center, Warsaw Autumn Festival, Steirischer Hercbst, Radio France, Dresden Tage, World Music Days, Foro de Música Nueva (México), Teatro Colón (Buenos Aires), Festival de La Habana (Cuba), etc.

ANGELUS
"... the 'mundus imaginalis', where the spirit becomes matter and the matter becomes spirit. (Henri Corbin)
The hebrew word Malaj, as well as the greek word angelus, generally translated as "messenger", describe entities that have been one of the key concepts of biblical thinking.The mystic hebrew and christan vision has seen on those entities the laws, the numbers, the 'ideas' (in the Platonic sense), a 'mass of knowledge' that are the constitutive principles of the Universe. Even being prototypes, or protoanalogies, they are living and conscious beings that communicate with man.
Taking as subject of contemplation the Vision of Prophet Ezekiel, the jewish and christian mystics concluded that the two key ways by which the 'messengers' communicate with man are the analytic science, represented by the wheels of the 'merkaba' (the carriage of God), and the artistic vision, symbolised by the Four Livings with faces of eagle, bull, lion and man.

MARTA JIRÁCKOVÁ (1932)
The Czech composer Marta Jirácková, born on March 22nd 1932 in Kladno, came to the attention of the musical public at home in the 1970's as an accomplished artist, following her earlier attempts at composing and after a break for family reasons during the 1960's.
Having spent her childhood in an art-loving family, she graduated from grammar school in Kladno and studied at the Prague Conservatory of Music under Emil Hlobil.
After graduating in 1959 she worked in Czechoslovak Radio as a music editor. Marta Jirácková's long-term involvement with broadcasting was instrumental in extending her musical horizons, which had been focused during her studies primarily on the music of J.S. Bach (with an admiration for his timeless order). Suk (whom she considers to be "a master yet to be appreciated") and Bruckner (having a "fascination with large forms").
Moreover, the composer's radio training and experience provided her with a thorough knowledge of the efficiency of the phenomenon of sound which would later attract her as the basic "building material".
Marta Jirácková's keen interest in learning more in her chosen field eventually resulted in her studying with Alois Hába, who taught her modern harmony and composition between 1962 and 1964. In her profound and systematic study of contemporary music, Marta Jirácková was greatly influenced by her marriage to the conductor Václav Jirácek who sadly died in a tragic accident. Her intimate acquaintance with what is called Musica Nova led her to apply modern compositional techniques in her cycle of choruses, "Eight Wonders of the World" (1976).
A major source of inspiration which brought Marta Jirácková back to composition during the early 1970s was her friendship with Sláva Vorlová, a Czech composer almost forty years her senior ( Jirácková's first orchestral composition "Sláva Vorlová's Confession").
During the second half of the 1970s the composer continued her training in postgraduate studies at the Janácek Academy of Performing Arts in Brno with Ctirad Kohoutek and Alois Pinos. The latter, a distinguished music teacher and composer, particularly has been a major influence in Marta Jirácková's further career, as well as in her efforts to find her own stylistic contemporary mode of expression.
Marta Jirácková's works include more than forty compositions, covering, with the exception of concertos - virtually all the other musical genres, including music for radio and television. Her specific interest, however, is in the use of the human voice as a musical instrument. This is heard in compositions such as "Eight Wonders of the World", "Three Songs a Without Lyrics", the two-part ballet "Five Times a Woman" and "The Ship of Fools" and other works. In addition to characterising her own musical style, which aims at a modern type of construction based on 20th century music links with European musical traditions, these compositions duly reflect the composer's sincere efforts to write comprehensive music, as illustrated, for instance, by her Second Symphony "Silbo" (Silbo is sometimes used as a term to indicate an ancient protolanguage).
In recent years Marta Jirácková has been particularly successful in electroacoustic music. Her composition "The Ship of Fools" was awarded the 1992 Prize of the Czech Music Fund. Her range of sources of inspiration is very rich and varied. As a mother of two daughters, Marta Jirácková is in a position to consider the issue of the role of women in a creative manner. Her first symphony, "Nanda Devi", portrays the tragic fate of a young mountaineer Nanda Devi Unsoeld, who died while ascending the Himalayan mountain of the same name, while the position of women is central to the electroacoustic ballet variation "Five Times a Woman", composed in 1992, as well as in other pieces.
Marta Jirácková also devotes herself to educational music. A significant work in this field is her song cycle "A Fairy-Tale Train", which has been performed at hundreds of educational concerts, and the cycle of piano studies "The World of Children". Marta Jirácková's lifelong artistic credo is to protest against inhumanity whenever it occurs and to compose music that helps restore the purity of the human spirit.
SELECTED COMPOSITIONS
Orchestral Works
- Sláva Vorlová's Confession, symphonic sketch with solo trumpet and soprano. op. 8 (1973)
- Nanda Devi, Symphony No. 1, with children's and female chorus and tower bells, op. 25 (1979)
- Ave Seikilos, composition in one movement for strings and percussion, op. 31 (1983)
- The Butterfly Effect, composition for violoncello solo, string orchestra and percussion, op. 32 (1984)
- Silbo, Symphony No. 2 for large orchestra with an Interlude for children's chorus, op. 34 (1986-87)
- A lesson of Composition. Three Movements for organ, string orchestra and percussion, op. 35 (1988)
Chamber Works
- Four preludes, an Interlude and a Postlude for piano, op. 5 (1972-73)
- Variations on A Borrowed Theme, for a chamber ensemble, op. 14 (1975)
- Three songs Without Lyrics, for soprano, flute, horn, clarinet, bass clarinet, violoncello, celesta and percussion, op. 21 (1977)
- The Blankenburg Fugue, for string quartet, op. 33 (1985)
- Imago vitae, suite for organ, op. 36 (1989)
- Variations on the policy of Queen Hatshepsovet, for two pianos op. 37 (1989)
- Dodekaria I, sonata in one movement for violin and piano. op. 38 (1990)
- Dodekaria II, sonata in one movement for dulcimer and flute, op. 42 (1992)
- Dodekaria Tristis (III), sonata in one movement for basset horn and piano, op. 43 (1992)
- Die Warheit über Sancho Panza (The Truth About Sancho Panza). An Aphorism of Franz Kafka for narrator, flute, bassoon, violoncello and percussion, op. 48 (1993)
- Centre of Gravity of Humanity, one-movement composition for 8 double-reed woodwind instruments, op. 49 (1993)
Vocal Compositions
- Lokh Geet, a cycle of female choruses based on Indian poetry, op.2 (1972)
- Just So, five duos for soprano and flute to a text of the same name by J. Prévert, op. 3 (1972)
- I, Charles Lounsbury, a short cantate for baritone and piano on the composer's own text according to the testament of Lounsbury, op. 7 (1973)
- Eight Wonders of the World, eight scenes for voices, harp and percussion, op. 18 (1976)
- De corde, a chamber composition for soprano, piano and tower bell to words by Jan Tausinger, op. 29 (1982)
- Saint Wenceslas. Evocation of the ancient manuscript of the chorale for soprano, viola and piano, op. 39 (1991)
- Saint Wenceslas. Evocation of the ancient manuscript of the chorale for mezzosoprano and organ, op. 39a (1992)
Electroacoustic compositions
- Lullaby. A radio musical image (synthetic montage), op. 23a (1978)
- The Ship of Fools. Electroacoustic ballet music after Hieronymus Bosch's painting of the same name, op. 40 (1991) note: Part II of a two part ballet (together with op. 45)
- View from the Balcony, an electroacoustic suite in seven parts. op. 41 (1991)
- Bees and the Sunflower. Composition for flute and tape, op. 44 (1992)
- Five Times a Woman. Electroacoustic ballet variation for female voice and synthesizer, op. 45 (1992) note: part I of a two-part ballet (together with op. 40)

VIEWS FROM THE BALCONY, electroacoustic suite in 7 parts
Realization in the Audio studio of Czech Radio in Prague in 1991. Individual parts: 1. Diskant Twinkling, 2. Prague's Towers and Spires, 3. Balcony with flute and Sunflower, 4. Kajetánka College, 5. Brevnov Nativity, 6. Siling Moon, 7. Coda with Champagne.
The composition is inspired by the view from my own balcony, decorated with a statue of a flute player from the workshop of my uncle, sculptor Frantisek Klimes. The balcony is to be found in a picturesque Prague location of old Brevnov. What can I see from here? Twinkling lights on the Eastern horizon of Prague with all its towers and spires from where I can hear the sounds of big and small bells. In summer there are sunflowers in full blossom on my balcony, which attract bees and bumble-bees in great numbers. Under the balcony there is a students' college Kajetánka, where students alternatively study - for instance Latin or violin playing - and entertain themselves springhtlinessly, until the porter's dog barks and announces the silence of the night. In the evening I look at the densely populated Brevnov slope which - especially under the snow - looks like pitoresque Bethlehem. In the composition it is expressed by a reminiscence of a motive of children's Christmas Carrol, which my little daughter composed for me some time ago.
In deep night the Moon sails in the skies and stars fall down, which is a moment, when people should quietly pronounce their most secret wish... And what's more to wish than love and sincere friendship, expressed by a merry glass clinking in the short Coda with Champagne.

JAN MÁLEK (18-05-1938)
attended the Prague Conservatory from 1958-1961, where he studied composition with Miloslav Kabelác with whom he then consulted privately on modern composition trends in the years 1963-1974.
From 1963 Jan Málek has been working first as music director for Czechoslovak Radio in Pilsen, later as dramaturgist of the Pilsen Radio Symphony Orchestra and the electroacoustic studio of Czechoslovak Radio Pilsen. From 1976 he is working as music director in Czech Radio Prague.
Jan Málek's works have various sources of inspiration (music of earlier style periodes - especially Gothic and Renaissance, folklore, cryptogrammar, numeral notation etc.). He is not closed to any stimuli and he strives more and more distinctly for a synthesis of even incompatible phenomena on the basis of rational compositional techniques.
Selected works:
- 1st Symphony - Sinfonia su una cantilena (1987)
- 2nd Symphony - Chamber (1987)
- 1st String Quartet - Hallgató és táncnóta (1966)
- 2nd String Quartet (1976)
- Sei Sonetti della Vita Nuova di Dante (choir a capella) (1974)
- Tribute to Michelangelo's Hammer (for soloists, choir, brass instruments and percussion) written on the 500th anniversary of the artist's birth for the 1975 International Rostrum of Composers
- Concerto for bagpipes, strings, timpani and percussion (1976)
- Piano concerto (Two Graphic Symbols) (1981)
- Cycle "The Seasons of the Year (for wind quintet) (1985)
- Fiammette scure (trio for viola, cello and double-bass)
- From the Book of Isaijah (solos, chamber orchestra and 11 instruments (1992)
- Quando io sarchiava'l lino.... (Variations and thema for 5 cellos) (1995)
- The Winter Solstice (for flute, clarinet and piano) (1996)
We choose from a not very long list of electroacoustic compositions:
- Horror Alenea (a quadrophonic triffle of concrete sounds) (1969)
- Three points (Depression, Impression, Expression) for an orchestra and 2 stereo tape recorders (the electroacoustic element works only with derivatives of the composition's orchestral part) (1972)
In the area of electroacoustic music, Jan Málek on purpose does not use all the opportunities offered by lates electronic instruments as it seems to him they enable anybody to make something too easily, without creativity and more - without talent, and they can lead even a real artist to purposeless sound exhibitionism. Either, he does not find the sense of work in the area in easy (and relatively cheap) pariphrasis of music which, after all, could be played on traditional acoustic instruments. He aims at reaching results not reachable by the acoustic instruments mentioned.

Pastorale Interrotta (collage no. 3, 1995)
The opus confronts two sound worlds: the slowly disappearing world of silence of nature and the world of hurting civilizational noises, in which we are sentenced to live our lives. Absolute silence doens not exist, of course, even in nature; in the composition it is represented by a bow mixed of rcordings taken in a rather difficult way in a remote place in east-bohemian forrests. The material is completed in the farthest background with a sound of recorder from an out-door studio. On the other hand, the contrast material of civilizational noises was taken very easily, during a short walk along a Prague street. The author uses it without any arrangement, except for several exceptions (few transpositions, cumulating sounds with help of a sampler). Neither, there are used artificial echoes. A basic method of work is a collage technique - selection of chosen sections by hard and rough cuts. The opus was recorded in the electroacoustic studio of Czech Radio in Prague, 1995. It came into being in cooperation of the author and the sound engineers Tomás Zikmund and Roman Spála.

JOZEF MALOVEC (1933)
One of the first Slovak composers oriented towards the production of electronic music is Jozef Malovec who graduated in composition from the Academy of Music and Dramatic Arts in Prague. Since 1957 he was working at the section of symphonic, chamber and vocal production of the Slovak Radio in Bratislava. He stood at the creation and formation of the Experimental Studio in Bratislava.

AVE MARIS STELLA (1995)
The Strophic song "Ave maris stella" has been sung in monasteries since Middle ages until the present time. The lyrics has undergone various musical adaptations from Gregorian choir to amateur-like tunes, by various anonymous authors. The lyrics is philosophical and spiritual oriented. I decided to create a composition with electroacoustic means. My electroacoustic composition is derived from Strophic song Ave maris stella realized with electroacoustic sound transformations, complemented with quotations from several different versions of this song.

VLASTISLAV MATOUSEK (08-11-1948, Trutnov)
After private study of composition at Michael Cakrt in Trutnov, he started his studies in Musicology at the Charles University in Prague from 1977-78, and then he graduated with a degree in Composition at the Academy of Performing Arts, the Faculty of Music in Prague at Václav Riedlbauch from 1978-1987. There he completed also postgradual courses in Musical Theory from 1987-89.
As a composer he prefers to make mostly accentric musical artefacts. He wrote for example: 2 symphonies, many vocal and instrumental chamber pieces, songs for children, music for ethnic and exotic instruments, experimental electronics, alternative rock songs, music for films and theater performances, etc......
As a concert performer, he as a soloist presents his compositions for exotic and folk instruments (often in combination with electronics). At the historical Czech bagpipe "Moldánky", Hurdy-Gurdy and other folk instruments he plays alone, or with free band "Moldánky of Prague" above all East-Bohemian folklore. He plays percussion and other different ethnic instruments (especially Indian tabla and various folk flutes) in a group Relaxace. He sings Renaissance polyphony in a chamber choir, Duodena Cantitans and he also sings and plays bassguitar and keybaords in experimental rock bands Mama Bubo, Pred Vasím letopoctem, now Yamabu.
Since 1991 he has been teaching Ethnomusicology at the Faculty of music of the Academy of Performings Arts in Prague. In his ethnomusical research he focuses on Extraeuropean Cultures, exotic and folk musical instruments, bimusicality and analysis of ethnic music. Since 1991 he has also been regularly cooperating with the Czech Radio in Prague as a musical publicist.

SHAPES OF SILENCE (1993)
An electroacoustic composition for Tibetan Singing Bowls, Pipes, Percussion and various Sound Objects realized by the composer in Studio "F" of Czech Radio in Prague in November 1993.
Like the bones of creatures that lived in the past have left their imprints in stones and have given us the window to the past, sounds (of metal stones, wood water wind) can also leave their imprints in different "spaces". Although the sounds faded out before our time, they may still be present here as reflections of the past, as SHAPES OF SILENCE. And perhaps they can even speak.
Electroacoustic Music:
Monolog of Kitty, for MG tape and Viola, (1983)
Voices of 6 Walls, for electronics and Ethnic instruments (1990) Czech Radio Prague, VS 289946 (phonothek number of CZ Radio)
The Wide Path, for electronics, Tibetan Singing Bowls and Sheperd's Pipe (1991) Czech Radio Prague, VS 289947
The Return, for electronics and voices (1991) Czech Radio Prague, VS 289950
108 Wawes of the Wind, for electronics and Ethnic flutes (1992) Czech Radio Prague, VS 290038
Without Return, for MG tape and harp (1992) CZRo Pilzen, PR 687 (from Premier Concert at Young Stage, Karlovy Vary 22-08-92)
5 Minutes Before, for alarm clock and recording studio (1992) Czech Radio Prague, VS 290086
Praga 93, for characteristic Prague's sounds (1993) Czech Radio Prague, VS 289458 (18-06-93)
From the Roof of the World, for Tibetan Singing Bowls (1993) Czech Radio Prague, VS 289410
Trigrams, for MG tape, flute and harp (1993) Czech Radio Prague, VS 290031
Shapes of Silence, for Tibetan Singing Bowls, pipes and sound objects (1993) Czech Radio Prague, VS 290026
Shapes of Silence 1-5, for Tibetan Singing Bowls, pipes and sound objects (1994) CD EM 10, Transmusic, 1994 (premier concert in Gothic Tower of Academy of Performing Arts (AMU), Praha 21-02-94.
Discovery, for Czech Wood, Rain, Bees, Tibetan Singing Bowls and ethnic instruments (1995) Sound Studio AMU Prague, sound Ing. Tomás Drbohlav
Anacoluthes, Cycle of 10 compositions for Sound Structures, Ticking and Instruments the premier as Pièce Chorégraphique concue et interpréttée par Anne-Lise Valla-Penttila at Salle Edith Piaff (29-03-96) in Paris.

PAWEL MYKIETYN (1971)
Born May 25, 1971 in Olawa. Studied clarinet at the State High School of Music in Wroclaw. Currently studying composition under Wlodzimierz Kotoríski at the Warsaw Academy of Music.
In 1991 he founded Nonstrom, a chamber ensemble (clarinet, trombone, cello and piano) which continues the traditions of the Musical Workshop Quartet lead for many years by the pianist and composer Zygmunt Krauze. In 1994 his clarinet performance gained him the main prize at the 20th Century Music Competition for Young Performers origanized by the Polish Contemporary Music Society. The piece 3 for 13 was selected as the winner of the under 30 years of age category of the UNESCO International Rostrum of Composers Paris, 1995. The same year, commissioned by the Warsaw Autumn Festival to write a piece for chamber ensemble, he composed Eine kleine Herbstmusik.
Principal compositions:
Prelude, for violin and piano(1986)
Clarinet Quintet , (1989)
Correlatio, for 2 sets of percussion instruments and strings (1989)
..although Dedalus came home..., for clarinet, cello and piano (1990)
Agnus Dei, for mixed choir a capella (1990)
Gloria, for six male voices (1990)
Water-Colours, for oboe and harp (1991)
Abigail, for clarinet, percussion and tape (1991)
La Strada, for three instruments (1991)
Four Preludes, for piano (1992)
Air, for viola (1993)
U Radka (Radek's), for clarinet, trombone, cello and piano (1993)
3 for 13, for thirteen instruments (1994)
Sonatina für Alina, for altosaxophone and tape (1994)
Eine kleine Herbstmusik, for chamber orchestra (1995)
Epiphora, for piano and tape (1996)
Concerto, for piano and orchestra (1996)
Piano Quintet (1996)

EPIPHORA, for piano and tape (1996)
Epiphora for piano and tape was written in the Spring of 1996 on commission from the Experimental Studio of Polish Radio, where it was then produced by Ewa Guziolek Tubelewicz. Assisting in the realization of several fragments were Dorota Blaszczak, Krysztof Czaja and Maciej Skwierawski. The text for the piece was specially written and recorded by Redbad Klynstra, a Dutch actor and poet.

And he said to her:
You are not my mother
For she is the order of things.
And he said to him:
You are not my father
For he is the reality of things.
He turned his back on them and walked out through a great door.
They were never to see him again.

(Redbad Klynstra)

Pawel Mykietyn: In its form the piece resembles an epiphora - a poetic rhetorical figure which consists of repeating the last word of a verse or entire phrase.
In my piece the repeating element is a standing chord, the only one generated entirely on synthesizer. All the rest of the piece was created from sounds generated on a piano, so I wanted to make the standing chord something of a foreign body. It emerges at the beginning from a huge explosion and doesn't tie into any of the piano parts in the piece until the very end.
The formal layout of the piece as a whole consists of a sequence of four-line verses. The last line of each verse is that same standing chord, preceded by changing piano parts. The third time around the piano part lacks internal differentiation and constitutes a whole that is difficult to divide into musical lines. Now comes a violation of the principle that governs the piece: the synthesized chord acts as a background and we hear the text, written at my request by the Dutch actor and poet, Redbad Klynstra. At a certain point the chord is joined by the piano, together they make up a huge culmination composed of a stubbornly, almost obsessively repeated figure.
What is created here is a process that could theoretically last forever. In some sense the piece is about destiny, the impossibility of escaping it, and about the fact that nothing is perfect. It was this message that I asked Redbad Klynstra to put into his words. The piano part can be interpreted as a constantly repeated attempt at escaping from something that is imposed upon us. That something is symbolized by the synthetically created standing chord. It is for this reason that the piano part includes an element of erring, a mistake. This can be clearly heard in the fugue, which seems like it was cut and re-edited. I even asked that this fragment be created using scissors and tape, but in the end it was generated on compuer. Something similar occurs in the part resembling Beethoven's Moonlight Sonata, where the imperfection has been manifested in a tempo which wavers when the chord changes occur.
In other places the live and recorded piano parts play in unison, after which the latter begins to escape upwards in an electronic glissando. Then comes a romantic cadence of powerful chord leading D-flat- major - somewhat like a human image of reaching perfection, an ascent to the summit. I underlined this using the symbolism of the number 7. That is how many times the cadence is repeated and the number of times we hear the crowning D-flat major chord. However, the synthetic standing chord reappears yet again, and with it a text saying that there is no escaping the order of things. A moment later the piano joins into the chord and thus we arrive at acceptance of the text's message, of said reality of things.
Pawel Mykietyn in an interview granted to Marek Zwyrzykowski.

FRANZ MARTIN OLBRISCH
was born on the 5th of November, 1952, in Mülheim on the Ruhr. From 1979 to 1985, he studied Composition with Frank Michael Beyer at the Berlin "Hochschule der Künste" (Academy of Arts). In 1984, he was awarded the Boris Blacher Prize by the Karl Hofer Society. After completing his studies in 1985, Olbrisch received a scholarship which enabled him to spend some time at Villa Serpentara in Olevano. In 1986, he participated in a holiday course for New Music at Darmstadt and was a prize-winner of the Wilfried Steinbrenner Foundation. The same year, Olbrisch started to teach Music Theory at the Berlin-Spandau School of Church Music and was one of the founders of the Society for Contemporary Music the year after. Since 1988, Franz Martin Olbrisch has been teaching Composition at the Berlin "Hochschule der Künste".
Further achievements:
First Prize at the Yamaha Saxophone Competition;
Prize-winner at the International Carl Maria von Weber Competition for Chamber Opera in Dresden, 1990;
Grant for Composition by the Berlin Senate in 1991.

Studi and Speaker
is a study for loudspeaker and was composed for the Akusmonium of INA/GRM in its original eight channel form. The first performance took place at Inventionen 1996 in Berlin. Regarding the second version in stereo, which was conceived at the electronic studio of Technische Universit Berlin, I have tried to preserve the original version's variety of range and sound.
The formal construction of the piece arises from the tension between the different associative contents of its concrete sound materials. This is obvious from the very beginning, when, after the concrete sound of a coin machine can be heard, the music changes immediately into the overly sweet and aesthetical sphere of a vocal concerto of contemporary fashion - a contrast which could not be greater. Both sounds can still be traced to their origins, though. It is only the sound of a longitudinally-lined string of a very low frequency which can be heard at the same time that adds something vague and undefined to the piece. It is difficult to identify this sound, it remains vague and is, therefore, brought into stark relief.
The opposites which are appearent in this very limited range expound the theme of the composition, i.e. the contrast between concrete and instrumental sounds and their blending into a new unity of sense. The means to achieve this synthesis are on one hand the instrumental, 'noisy' sounds and, on the other, the concrete sounds which are made 'musical', mostly by rhythmization.
In the middle section, taking up a special position, short particles of speech rise to the surface again and again. They comment on the action without becoming too definite, like looking through a veil or a hazy mirror. The piece looks at itself, is reflected in its own sphere and asks the listener to the same - it is not enough to just listen carefully, you have to look at yourself while you are watching, too.
(Franz Martin Olbrisch)

Arno Peeters (Zutphen, 1969)
is a typical auto-didactive composer; between 1983 and 1986 he created tape-music independently with simple hifi-equipment and all kinds of other low-end electronics. In this way he developed himself and became familiar with several techniques like synthesis and mixing, still an important factor in his work.
From 1986 on he became involved with The Centre for Electronic Music (CEM-Studio, Amsterdam) where he took courses and participated in several workshops. He is still actively involved with the CEM as co-worker and producer.
Since 1989 he works in his own studio with MIDI, computers, sampling/harddisk and synthesizers where he prefers to experiment using a rather unconventional approach towards electronic equipment in general, using anything that produces sound. Kids' toys, television-sounds, feedback-loops or rare musical excerpts: in combination or digitally processed, they can create eerie atmospheres or new playable instruments which in turn challenge the imagination.
Currently he is active in various areas as independent producer, audio-engineer, sound-designer or composer. He has produced several albums ranging from hip-hop- and techno-music to soundscapes and experimental ambient music and participated in projects and research for a.o. Universities, The Goethe Institut, The European Minimal Music Project, MTV, Sonic Acts, Dutch national radio and television. (Utrecht, 25-07-1996)

Aeroson
Producer: NPS, Hilversum, The Netherlands
Composer: Arno Peeters (Zutphen 23/01/69)
Title: AeroSon
Subtitles
01. Worshipping Dot Matrix
02. SW Itch
03. Duesday
04. AMorphMeditation
05. AudEntity I
06. Uncanny
07. AudEntity II
08. AeroSon
09. Commercial Menace I
10. Try to be Very Zen about it
11. Don't Wait...
12. The Desire to Get Wired
13. Commercial Menace II
14. Meditation
15. Coda
Duration: 40 minutes (exactly)
Format: DAT-tape 44.1 kHz or WORM/CD
Produced: Attica Studio (home projectstudio) between may and august 1996
Kind: Soundscape, harddisk-compilation of compositional cells, parts and samples
Sources: Analogue-and digital synthesis, computer-rendering, CD's, libraries, AM, television, toys, private recordings
Equipment: Macintosh II FX with Audiomedia DSP-board, harddisk, simple studio setup + MIDI
Software: Sounddesigner, DECK, TurboSynth, Sonic Worx, Soundhack, Thonk!
Introduction
I've allways been fascinated by the effect sounds can have on us humans: the dramatic impact of the sound of a dentists' drill or wild animal, the suspense produced by tremolo strings.
Once one forgets to think of music as an hierarchy of melodic intervals, this 'psychological power of sound' reveals itself, and because of the simple fact that I can't read nor write notes or even play a 'real' instrument, this is the way I perceive sound and music. By recording and archieving sounds for some years now, I can create atmospheres with layers of sound like blending colors on canvas.
Using modern digital audio-technology, the possibilities of this 'alchemy of mixing' are sheer infinite. An interesting side-effect is that blending two sounds together (seemingly without any simularity) can create associations or suggest emotions which can be daring. Sometimes as I zap through my library in MTV-style, I wonder why I should combine certain sounds. But in hindsight however, there appears to be some unity within the newly created material.
AeroSon
deals with our ever changing audio-environment. Were the sounds of water, simple handcraft or our fellow tribe-members once comforting and well-known to us, nowadays modern telecommunication and industrial noise guide us through an hectic urban environment. Television and radio-broadcast bring us sounds traveling by air, never heard before. Faxes and beepers may produce coïncedental harmonies and sounds of generators, elevators, computer-drives and motors provide a constant hum, or on second view: an aerial symphony.
As it is a fact that most creations of mankind are mirroring a proces allready found in nature, one could toy with the question if and how the sound of cellular phones and TV-commercials replace crickets and forest noise. In AeroSon I tried to combine natural elements with their artificial counterparts. Furthermore I experimented with recreating atmospheres which have been long gone or have never even existed by combining acoustic realities with electronic look-a-likes. A piece about the relationship between man and the technology he surrounds himself with. The piece presented is originally about an hour long, and for the occasion resized to 40 minutes
Description of AeroSon, piece by piece
(1. Worshipping Dot Matrix 0'00" - 4'15")
When I first heard the indians of the Mekaron, a tribe in the Amazon, who live almost in the stone age, I was struck by the sounds they produce during hour-long sessions whilst under the influence of a strong herbal drug. The raw sounds of their digiridoo-like blowpipes and their rhytmic timing somehow gave me the same aural impression as dot-matrix printers. When I combined the two this seemed to fit wonderfully: as if the tribe somehow discovered a machine by accident and had begun to worship it like a god. This bizarre confrontation ignited the ideas on which AeroSon is constructed: how the meaning of sound has changed. Once we would sing with the wolves, cry like birds and tell eachother of our experiences in the forest. Now it has become another jungle: of cellular phones, answering machines and 'booming cars', all to to communicate our holy individuality or is there more to it..?
(2. SW Itch 4'15" - 5'43")
So I began to seek paralels between 'ancient sounds' (from nature that is) and modern look-a-likes. The sounds of morse-code found on the shortwave-band of your radio can very much be looked upon as sounds of crickets and frogs in the Amazon: encoded communication, mixed with more recognisable sounds of fellow-animals or enemies. It is strange that these sounds are there whenever you turn your radio on: as if nobody listens to them, but somehow they need to be there.
(3. Duesday 5'43" - 8'32")
Duesday starts with a statement by David Oppenheimer, as he tries to describe his feelings after having seen the first atombomb explode in the Nevada desert: between the lines you can feel the insecurity he must have felt as he understood that what he'd created was a means of mass destruction. This fascination with 'reading between the lines' I feel even stronger with the recordings made just before about 800 people took their lifes in the same jungle of the Mekaron, because Jim Jones told them so. They speak with fear in their voices still reassuring eachother that they've made the right decision: why did they record it ? Like somehow the microphone can force people in saying what they're expected to, but can provoke them to make a more true emotional statement at the same time. For me it demonstrates how technology, even though in simple forms, can influence people in fascinating ways.
(4. AM orph 8'32" - 10'34")
More closely than SW is AM on your dial: as a kid it brought home sounds from all over the world: strange languages, things happening live in places you could not imagine. It gave an almost cosy feeling: the warmth of AM sounds. In this part I combine a few elements to recreate such an atmosphere: strange languages, the spinning of a cat, a fatherly sounding tabla-teacher, timeless string
sounds, jazz.
(5. AudEntity I & II 10'34' - 14'04")
Actually it amazes me in how many ways one can differentiate oneself with sounds: your type of telephone(sound), your car-stereo, your answering-device, giving you identity even when you're not in. It gives an eerie feeling of a world where only images of ego's roam and the actual content appears to have fled. "Everybody's out to do...what...?")
(6. Uncanny 14'04" -16'16")
This second Mekaron-meditation expresses to me the same strange feeling I can get from 'phone-tones': lonely or waiting, rhythmic and sleep inducing. I tried to add the phone-tones by playing them live along this piece of concrete sound.
(7. AudEntity II 16'16"- 23'03" See 5.)
( 8. AeroSon 23'03" - 25'35")
A stunning example of the definition of sound could be an instrument called Theremin, which can be played by influencing the distance to an antenna resulting in a rise or fall in pitch. This is achieved by radiowaves. In this part I modified radio-sounds with those produced by the Theremin. Finally two other types of 'air-sound-music' are introduced: bagpipemusic and, of course, the human voice
(9. Commercial Menace I 25'35" - 29'47")
As the veneer of technology starts to fade, commercial menace is introduced, juggling with concepts of understanding: in two commercials recorded at an arms-trade-convention, a human being possibly being killed is referred to as "target" with "high-kill probability and great munition effectifness inside the target....". Of course this is a rather extreme example, but in commercial marketing anything seems to be allowed: digital modification of media to create attractive products that actually never even existed, is commonly accepted. Toying with reality as if it were a game: is it out of control or better: to a point of no return: can we ever accept 'raw reality data' once the digital media revolution has had it's hands on it ??
(10. Try to be Very Zen about it 29'47" - 31'29")
Or maybe one should look upon it as a bizarre new artform which ultimately will hold up a mirror to man's arrogance ?
(11. Don't Wait ... 31'29" - 33'39")
Or is it just plain fun, adding depth to man's creativity ? Like in "Don't Wait...Create..!" Allthough I still doubt if software-companies are actually interested in creativity...
(12. The Desire to Get Wired 33'39" - 34'41")
And then there's internet: once started off as an anarchist's dream, now turning slowly into an giant digital mall: some of us are led to believe that if one would have a socket in the back of one's head, you could turn off and plug in, transferring the content of your brain onto floppy-disk and so become immortal. I let the quote in this piece speak for itself.
(13. Commercial Menace II 34'41" - 35'33")
The lonelyness of mankind seems too vulnerable to me to withstand the explosive marketing-opportunities. I feel that software-companies will dominate the market-place within a couple of years, trying to re-sell reality in bits and bites: from virtual sex to making you feel comfortable while doing your home-shopping. Waiting for the first road-kill on the Digital Highway.
(14. Meditation 35'33" - 38'57")
I may have a rather negative point of view on the Utopian Vision, but I see a trend, where the influence of media (in any form) forms a top-heavy delta, ready to come tumbling down in a modern market-crash, when the deception is complete. Therefore AeroSon is an open story, told in sound, about lifestyle in change, for better or for worse
(15. Coda 38'57" - 40'00" ): ....
I'm not ready...
(Arno Peeters, 5-8-1996)

I wish to thank the following people and organisations, which were helpfull in different ways in the creation of 'AeroSon', in no particular order: NPS, CEM, TryOut Music & Media, Future Music, Onno Mensink, Jan Landuyt, Patricia Coljé, Leendert Douma, Michael Fahres, Piet Hein van de Poel, Paul Harvy.

GYULA PINTÉR (1954)
Was born in 1954 in Hungary in the city of Jászberény. He took piano lessons from Lidia Csebiss, and learned composing from Zoltán Pongrácz.Since 1978 he has been conducting electroacoustic experiments in his privately designed studio. He has attended several music and art festivals sincce 1980, and has been a part of different performances. His special interest is to make connections between different fields of art. Since 1985 he is studying the use of computer in art.

IF EAST IS GLISTENING
The composition involves three main parts which are also divided into smaller parts. The musical structure of the composition is built upon the one hand by improving and varying the motives and on the other hand by the stratification of the different tones. The piece was composed in 1995 in the Electroacoustic Music Studio of the Hungarian Radio with the assistance of acoustic editor István Horváth. Béla Szalay plays the saxophone.

KATALIN PÓCS (1963, Budapest)
I took degree at the Ferenc Liszt Academy of Music to the composers' department. My teacher was Emil Petrovics. I have two diplomas: music theory teacher and composer. In 1986 I won the first prize at the Composers' Competition for the memory of Franz Liszt. In 1992 I got the 4th place at the Roodepoort International Eisteddfod of the South Africa Composers' Competition and in 1993 I won the 2nd place at the Composers' Competition in Szeged. 1987 Kinococ Kuratórium scholarship. 1988-91 scholarship named after Zoltán Kodály.
For my creative activity I have been awarded financial support from the Copyright Agency. I have already been awarded a scholarship three times from the Artistic Fund. I am a member of the Group of Young Composers, the Hungarian Composers Association and the Artistic Fund. My works have been broadcasted by the Hungarian Radio several times and they are performed at concerts.

Messages from the Past, electronic compositon for marimba and electronic sound material
May any relationship exist and in what way with a strange far-away world from where there is no return? The work tries to find an answer to this question. The electronic material of the work exclusively derives from marimba materials of different characters, except for the drone of the enigine at the beginning and at the end of the work. The electronic prelude consists of marimba tremelos and impulses, transposed in different ways, and the drone of the engine (aeroplane). As the accompaniment of the solomaterial, marimba tremelos appear, coming from the tonal system of the live material, with the occasional quick materials of samplers that sometimes anticipate the quick part of the work. All this is followed by a marimba solo, with echo effect, and it leads us to the quick part. In this phase different feed-back layers and sampler materials alternate with the quick materials of the live part. At the end of the quick part impulses appear, as indications, that close the prelude, then a reference is made to the marimba solo before the quick part. The closing phase rhymes with the first appearance of the live phase. The work was composed in bridge form.

GILLES RACOT
Studied the plastic arts at the École Nationale Supérieure des Arts Appliqués; concurrently, training in harmony and self-taught work as a composer. Professional activities in graphic art, particularly in teaching drawing. A pupil of Pierre Schaeffer and Guy Reibel at the Conservatoire Supérieure de Musique de Paris. Took part in the work of the educational team of "l'Oreille en Colimaçon" ("The Spiral Ear") at France-Musique (1981-1984). From 1983 on, an independent contributor to the Musical Research Group of the INA; here, his chief interest lay in the relationships between the techniques and languages of electro-acoustics and those of writing for instruments. Whilst then he composed several works of mixed technique, bringing together groups of instruments and their transformation by programmed computer onto tape. In this context he took part in the creation of several audio-numerical software processings. Moreover, the texture of his purely instrumental works became enriched by techniques derived and transposed from his work on sound.
Furthermore he contributed to the musical research activities of the IRCAM, in the Atelier de Recherches Instrumentales (1985) and took part in the development of the QUATRON, the real-time synthesis computing system of the IMCA at Auch (1989-1990).
Among some twenty works which have been given by such groups as the Atelier Lyrique du Rhin, the Itinéraire, the Ensemble Intercontemporain, the Ensemble Forum, the Percussions de Strasbourg and the Orchestre National de la RTV Roumaine, we may mention:
Instrumental Music
Aestuor, for seven brass instruments and two percussionists (1986)
Instances, for two pianos (1989)
Vertumnal, for a chamber ensemble of twelve musicians (1990)
Opus, pour grand orchestre (199.)
Alliage, for instrumental trio (1993)
Mixed techniques
Arboral, for instruments and tape (1983)
Jubilud'à, for vocal sextet with percussion, flute, saxophone, cello and tape (1984)
Exultitudes, for saxophones, processed in real time by SYTER and tape (1986)
Noctuel, for bassoon and tape (1987)
Subgestuel, for six percussionists and tape (1991)
Diffluences, for piano and tape (1994)
Music on tape
Organimal (1982)
Anamorphées (1985)
Epiphonies (1992)
Discography
Exultitudes CD Sax Computer Daniel Kientzy (Ina C2000 - MFA - réf. Musidisc 244432).

DIFFLUENCES (1994), for piano and tape
First performance of this work, commissioned by the INA - GRM. Jean-Marie Cottet, piano
"The torrents' joy is not the arrival in the lake; the torrents' joy is the encounter with the boulders". (Albert Jacquard, The Legend Of Life.)
The closing sentence of Albert Jacquard's book, quoted here, could have been the title of his work for piano and tape - for indeed, to compose for the piano to-day, one must first "encounter the boulders" - and enjoy meeting them!
A vast repertory teeming with authoritative works from the past; almost everything has been expressed or tried on the keyboard. Every style, every revolution - and every cliché. Moreover there is the systematic morphology of the sound (attack with or without resonance), the constraint of fingering and, above all, the system of equal temperament! To-day, to stick ones' fingers into composing for the piano means that one is radically confronted with its' specific language. An earlier work, "Instances" for two pianos, was the composers' first serious exploration of the instrument and his first sounding of its' inherent difficulties, but the limitations of twenty fingers made him eager to return to the problem. "Diffluences" represents this return. Here there are only ten fingers, but they are accompanied by a multitude of other, virtual fingers, sometimes on a number of imaginary pianos with prepared timbres.
The use of electro-acoustic does not only give the effect of a multiplication of voices; above all, it is a way of developing the potential musical ideas of the "Art of Touch" - ideas which it would be difficult to develop with the instrument alone.
These ideas range from the utmost fluidity to a diversity of tremors, swarms of arpeggios, runs - finding new textures, they reveal a piano which is "other", thus accentuating its' typology. However the tape has exclusively used the sound-material of the concert piano and, as with works previously described, has made it possible to broaden the "harmony" and to make full use of the basic material. The relationship between tape and piano is not the classical one between two instruments in concert, but rather an indissociable blending - a bloc of pianos! The title "Diffluences" alludes to these two aspects of the composer' work, the writing and the treatment of sound, from beginning to end of this project; the most important thing being to establish a balance between these two approaches to composition so that each may play a mutually dynamic role. Energy? - Albert Jacquards' idea of a torrent goes well with these ideas coursing along. And the joy of the torrent? Up to you, to listen...
The electro-acoustic elements of the three works given this evening were produced in the studios of the ORM, and the sound processing was carried out on the SYTER real time work station.

VLADAN RADOVANOVIC (1932)
born in Belgrade in 1932. Graduated composition at the Belgrade Academy of Music in 1956. Since 1972 he has been head of the Radio Belgrade Electronic Studio, in the founding of which he participated. He worked in the studios for electroacoustic music in Warsaw (1966), Paris (1969), Utrecht (1976) and Budapest (1987). In 1958 he participated in establishing of a fine art group Mediala. He was one of the founders of the periodical Rock (1969), of the informal group Yummbel (1982) and of the group/project Sintum (1993). He is a member of the Serbian Association of Composers and of the Fine Arts Association. His compositions were performed in Italy, France, Belgium, The Netherlands, and three time (1969, 1976 and 1988) they represented Yugoslavia on the festivals organized by the ISCM. Educated primarily as a composer, he is equally adept in literature, painting and the synthesis of arts. He is also a theoretician who contemplates the most delicate questions of music and art. He has received a prize in the visual arts, two prizes for literature, and nine musical awards, including those for electroacoustic music at Bourges and at Prix Italia.

CONSTELLATIONS (1994)
The basis impetus for the composition was a dream in which I saw and heard male and female performers walking around in darkness and singing. Carryng shining and sounding balls, from time to time they formed some configurations resembling constellations. There are two versions of the composition. One has been envisaged as an audio-visual piece and another as the audio piece only. In the latter, a pure electroacoustic version, 56 synthetic initialized sounds were used. The main objects are 22 constellations whose visual presentation were projected on the staves. The form is featured as a series of changes involving the introduction, "promenade", groups of represented constellations and the conclusion. The next constellations were included: Ursa Major, Draco, Hercules, Corona, Bootes, Virgo, Leo, Cander, Scorpius, Orion, Canis Major and Canis Minor, Taurus, Perseus, Pegasus, Andromeda, Cassiopeia, Cepheus, Cygnus, Lyra, Aquila and Sagittarius. Two or more Constellations form the groups according to the constellations mutual vicinity and their mythical context.

TIM RESCALA (1961, Rio de Janeiro)
Graduated from Instituto Villa-Lobos UNIRO (Rio de Janeiro University). He studied piano with Maria Yêda Cadah and composition with Hans-Joachim Koellreutter. Rescala is a versatile composer whose works range from advertising jingles and theatre music to contemporary styles. A comedian and actor, he won the 1994 Mambembe Award in Brazil as a playwright with Pianissimo.
Rescala is the main owner of Estúdio da Glória (cooperative studio founded in 1981, Rio de Janeiro) and a musical producer for Globo Television.

PONTO, LINHA E PLANO (1990), for clarinet and tape
"Ponto, linha e plano" (Point, line and plane) for clarinet and computer, is based on Vassili Kandinsky's theory of forces operative in pictorial art. The piece originated from the idea of projecting points (minimal elements) on line and plane. On that 'pretext', Rescala has constructed a duo which is almost classical in its movements and atmospheres. It eventually acquired a four movement structure. All computer-generated material derives from a clarinet. hence the organic quality of its timbres and the richness of articulations.

SHA. (pseudonym of ANDREAS RODLER, 1972, Austria)
Born in 1972 in Hartberg. He lives and works presently in Vienna and Paris. 1990-95 studies in composition at the University of Music of Vienna with Dieter Kaufmann, Klaus-Peter Sattler and Dietmar Schermann. Since 1992 realization of studies and several compositions at Institute of Electroacoustics and Experimental Music in Vienna. Composition workshops with Klaus Huber, Tristan Murail, Brian Ferneyhough, James Tenney, La Monte Young. Darmstädter Ferienkurse 1994. 1995/96 invitation from IRCAM, Paris (candidate of the ensemble intercontemporain/reading panel 1995). Realization of mono- and multimedia projects (Dresden, Köln, Vienna, Graz, Linz, Sofia, Paris, Crest, Arnhem, Brasília). Instrumental and mixed electroacoustic-instrumental performances published by Musikverlag Alexander Mayer, Vienna. Musical theater, music for video, radio (ORF, WDR) and for CD. Prize-winner of several composition competitions (Carl Maria von Weber, Steirischer Herbst among others) as well as diverse artistic and scientific scholarships and endorsements. Member of the GEM (Austrian Society of Electroacoustic Music.).

LEERE UND FORSCHUNG
(empty and research, play on words between "Leere" and "Lehre" at the phrase "Lehre und Forschung", teaching and research)
leere & forschung is the first part of the cycle partie du rapport final d'un voyage de recherche pour la production de l'oeuvre artistique-scientifique "les espaces virtuels et/ou leur musique", qui a conduit aux centres de recherche et de production pour la musique electronique au printemps 1995 created between the summers of 1995 and 1996. As the title shows, this is a free reflection on my contribution to the research project: "virtual spaces and/or their music". The piece leere & forschung is based on sound materials gathered in interviews and recordings realized during my studies in and around Berlin (May 1995). This basic material was compressed and mutated and finally transformed by using a method developed for that very purpose called "black noise" (at IRCAM, Paris).
To get the proper first acoustic impression, it is important to find an ideal stereophonic position (the two loudspeakers and the listener have to be positioned in order to form an equilateral triangle). Even the slightest change in position (moving of the arms, the shoulders, the ears etc.) alterates the whole acoustic impression and structure. From this point of view and in relation to the larger context of the whole cycle, with reference to its transformability, the present material is to be considered only a transitional phase, subject to permanent redefinition and reformation (and in this sense "interpretation") by the single listener.
The whole cycle and the ORF-Kunstradio-CD are subtitled: music for groups formed of two loudspeakers and one listener.
IMPORTANT:
leere & forschung should be diffused at a very high volume level.

JÖRAN RUDI (1954)
was born in Oslo and began his career in music as a member of one of Norway's rock bands that emerged in the end of the 70's. His studies in music theory and composition were conducted at New York University, where he received his Masters Degree in Composition in 1988. Rudi has concentrated his work within the genre of electroacoustic music, computer music in particular. His list of works contain, for the most part, compositions for electroacoustic instruments or tape, and he has composed for dance, film, and performance art as well. His music has been performed across Europe and the USA, and most of his later works have been commissioned for festivals and other international events.
He is currently serving on the boards of NICEM - the Norwegian section of ICEM, Ny Musikk - the Norwegian section of ISCM, Oslo Sinfonietta and Ultima - Oslo Contemporary Music Festival, and directs NoTAM - Norwegian network for Technology, Acoustics and Music.

Concrete Net (1996) for tape (12'45")
Concrete Net gathers its ideas from long steel wires used in Western Norway for transporting hay down the mountainsides in the fall, the distances in our solar system and finally excerpts from J.G. Ballard's book Concrete Island. These ideas are wowen into a narrative about communication, where both freedom and exclusion are elements.
Physical modelling of virtual strings "welded" together and excited by "sound slices", and granulation of recorded sounds are fundamental parts of the work, and these timbres are mixed with additional synthetic sounds ordered as more tonal elements. All parameters are extracted from the ratios in our solar system, resulting in a journey in which a dramatic first part is relieved by a more finely-tuned continuation with captured signals of a more balanced and subtle character.
Jöran Rudi

ROBERT RUDOLF (1963)
attended private lessons on composition with Juraj Hatrík. Later he studied with Juraj Pospísil at the Conservatoire in Bratislava. From 1984-1991 he studied composition with Ivan Hruvsosky at the Academy of Music and Dramatic Arts in Bratislava, 1989-1990 studied with Yoshihisha Taira at École Normale de Musique in Paris where he graduated. 1990-91 studied musicology and electroacoustic composition with Francois-Bernard Mâche and Michael Zbara. At present he lives and works in Paris.

SCAR (1994)
"The fundamental feature of a scar is that it grows with you and never leaves you. Even an inconspicuous one never lets you forget about its existence. The composition Scar was realized in 1991-1994 in the Experimental studio. The composition is based upon the human voice. The remaining sound material - closely or remotely related to human voice - permanently adapts itself to the basic score in order to diminish the contrasts, in order to "play about the same thing" all the time. When somebody has said all, he can forget about his scars for a while."
The composition combines sampled natural sounds, sounds of Asian music instruments and human voice as source materials. All sounds were processed by digital computer controlled montage system DYAXIS and by complex algorithms of digital effects processor AKG ADR 68 K.

JUKKA RUOHOMÄKI (1947)
is a self-taught composer, almost entirely specialised in electro-acoustic music. He started working in 1970 in the Electronic Music Studio at Helsinki University's Department of Musicology and in the 1970s he made independent compositions as well as music for ballet, theatre, radio-plays and films. In the 1980s Ruohomäki was mainly involved with computer graphics but recently he has started to compose music again.
Scratches is in fact his first composition for 17 years. It was made in the summer and autumn 1995 at the Finnish Radio Experimental Studio and at the Sibelius Academy's Computer Music Studio (SACMUS).

SCRATCHES
is a piece of concrete music. Its original sound material was made by scratching and banging a huge (5.5 by 0.8 meters) piece of metal roofmaterial: exceptionally rich, loud and quite often really ear-splitting sounds. In the piece this raw material was used both in its original form and by strechting it (without changing the original pitch, i.e. by a phase vocoder program). When stretched for example 16 times its length the original horrible screams turned into strange sounds which often have a vocal-like character. Other ways to manipulate the sound were used sparingly, and the sounds were not tuned at all. Thus, all melodic and harmonic structures of the piece are the metal plate's natural vibrations 'as they were'. This piece shoudl be played loud.

ELISABETH SCHIMANA (1958, Austria)
Born in Innsbruck (Tyrol). She attended the course "Harmonikale Grundlageforschung" (research on the foundation of the harmony). In 1987 she was a visiting student at the University of York, Music Department, UK. From 1988-89 she studied electroacoustics and experimental music at the Hochschule für Musik und Darstellende Kunst in Vienna. In 1991 she was granted a scholarship for composition (University of Keele, Royal College of Music, London). Since 1983 she is taking private singing lessons. In 1989 she began to study musicology and ethnology at Vienna University. In the period from 1992 to 1994 she has composed several pieces of music for children broadcasting programmes of ORF. She is member of the GEM (Austrian Society for Electroacoustic Music).
Electroacoustic compositions:
Mund, (1987), tape.
Zustände, (1988), together with Katharina Klement.
A-LE-LU-JA, (1989), voice and electronics.
Sirenen, (1989, 16'), tape.
Bach, (1989, 15') tape, together with Katharina Klement.
Tot zu sein, (1989, 2'04") tape, together with Katharina Klement.
Zum Ofen, (1990), tape.
Peter (1990), tape.
U-Bote (1991), tape.
Weave (1995).
HEIMAT (1995), for choir, wind instruments, percussion units and four loudspeakers, together with Katharina Klement.
Recordings:
LP Dot
CD Artsat
CD Hare Hunter Field

OBDUKTION: .wasser/.öffnung
(dissection, water, opening)
"Death is the breaking of circulations and hence the destruction of autonomy" (Gregory Bateson)
"It is not anymore a queston of circulations, of connected matters, you can take away any organ and put it wherever you like, into your body, or you can even throw it away..... Things are separated from their context, which has ceased to exist. However, you live on and you exist in some context, that is you always will have some point of reference, and anyhow you tend to build or create one. You cannot convey a concept like death because your circulation continues to work. Your structures force you to establish communication. It seemed very peculiar to me that in theory you can immagine to take things out of their context, to dissect, to isolate them, and that you can manage it also practically. But in the end you find out that there is always a context" (Elisabeth Schimana)
The sound material of the pieces ".wasser" and ".öffnung" derives from a recording realised together with Andrea Sodomka during the dissection of five corpses at the Department for Pathology of St. Pölten Hospital (near Vienna). The permanent sound of rushing water at the dissecting table is the basic note on ".wasser". Minimal pieces of rushing sounds are subject to an acoustic microscopic observation that makes audible the 1001 voices present in the material. ".wasser" needs a certain level of volume in order to be able to hear all the 1001 voices. The use of adaptive filters allows to isolate, that is to dissect, the several materials like breaking, sawing and scraping of bones and sawing of bodies and to mix them in ".öffnung" with sounds of voices. The acoustical perception is centered on the character of objects of the single sound structures.
Production team
Sound material recordings: Elisabeth Schimana and Andrea Sodomka. ".wasser": Sound processing: Martin Leitner, Elisabeth Schimana. ".öffnung: Voice recording: Bernhard Gal, Rupert Hauer. Sound processing: Martin Leitner, Norbert Math, Elisabeth Schimana. Heart track: Norbert Math. Voice: Elisabeth Schimana. Procution: Offenes Kulturhaus Linz and ORF.

WAYNE SIEGEL (1953)
was born in Los Angeles in 1953 but he has resided in Denmark since 1974. He studied composition at the University of California at Santa Barbara and at The Royal Academy of Music in Aarhus. Important influences include American folk music, avant garde rock and minimalism. In 1978 he received a three-year grant from the Danish State Art Foundation and worked as a free-lance composer in the years that followed. In 1986, after two years as administrative director of the West Jutland Symphony and Esbjerg Ensemble, he was appointed director of DIEM, the Danish national center for electroacoustic music in Aarhus. In 1994 he chaired the 19th International Computer Music Conference in Aarhus. In 1996 he was appointed chairman of the music department of the Danish State Art Foundation.
Siegel has written music in many genres ranging from solo works with live electronics to orchestral pieces. Commissions include "Devil's Golf Course" (1984-86) for the Aarhus Symphony, "Concerto for Percussion and Orchestra" (1988) for the Zealand Symphony, "Tracking" (1990) for string quartet and live electronics for the Kronos Quartet, "Eclipse" for the British vocal ensemble Singcircle, the two-hour science fiction electronic and acoustic opera, "Livstegn," for the Danish Music Theatre and "Jackdaw" for bass clarinet and tape for Harry Sparnaay. His music has been performed throughout Europe, the United States and Japan including numerous radio and television broadcasts. He often uses computers with live musicians, and in recent years he has explored the possibilities of computer music installations. Best known is his "Music for Wind": an interactive work which responds to wind speed and wind direction. This outdoor installations has since 1991 been presented in Denmark, Poland, Norway, the United States, Japan and France. Four of Siegel's central instrumental works are available on record on the PAULA label. Available on CD are: "Cobra" for four channel tape, (DaCapo), "Watercolor, Acrylic, Watercolor" for ten musicians (Imogena), "East L.A. Phase" recorded by the Los Angeles Guitar Quartet (GHA) and Three Canons for Two Guitars with the Danish Guitar Duo (Point). A new CD with "Devil's Golf Course", "Tracking", "Eclipse" and "Jackdaw" is planned for release in late 1996.

JACKDAW (1995) for bass clarinet and computer (9:40)
Jackdaw for bass clarinet and computer was commissioned by Harry Sparnaay with financial support from the Danish Art Council and premiered at the Musiana 95 festival in Denmark. A jackdaw is a small, European crow, and the character of the piece as well as many of the sounds are inspired by this audacious yet clever bird. Since I have a tame, pet jackdaw, I was able to record the bird under perfect conditions. Many of the sounds played by the computer consist of these recordings processed by the computer, such as jackdaw cries filtered by the formant of a bass clarinet or lang bird calls stretched to 10 times their original length using the phase vocoder. Bass clarinet sounds sampled and processed by the computer and computer controlled live processing that change the sound of the instrument during performance are also used. As the composition progressed my hunch was confirmed: the jackdaw and the bass clarinet are related!
Wayne Siegel

MIKLÓS SUGÁR (02 July 1952, Budapest)
He studied conducting (1974-78) and composition (1975-80) at the Budapest Academy of Music. His professors were András Kórodi and Emil Petrovics. between 1979 and 1987, he was a member of the Young Composers' Group of the Association of Hungarian Musicians, acting as the group's head in 1983-87. Since 1978, he has taught at the Academy of Dramatic and Film Arts. Between 1984 and 1988 he was conductor of the Békéscsaba Symphony Orchestra. Since January, 1988 he has been on the staff of the Music Department of Hungarian radio. In 1984, his piano piece Felhóvariációk (Cloud Variations) won the third prize at the international composers' competition of the Budapest Spring Festival. In 1981, he received the prize of the Albert Szirmai Foundation; in 1984 and 1985, he was awarded the Kodály Scholarship.

PERCUPICSY
The name: PERC-UPIC-SY comes from the three musical component of the piece:
1. Live percussion - music for one performer (PERC)
2. The composer worked on the electronic-musical material of the piece in Paris-UPIC-Studio in May-June 1994. It contains different modulated bird-songs in the main part. (UPIC)
3. Composed music for Yamaha SY22 in which can be found synthetic and natural sampled sounds as well. (SY)
The supplementary operation of the "Persupicsy" ended in the Electronic Studio of the Hungarian Radio with the help of the engineer István Horváth.

SLAVKO SUKLAR (1952)
Born: Murska Sobota (Slovenia), May 24, 1952
Education: Faculty of Music Art, University of Belgrade, Sections of Theoretical Studies & Composition (classes of Profs. Petar Ozghian and Aleksandar Obradovic respectively); B.A. in Composition in 1979; M.A. in 1988 (class of Prof. Srdjan Hofman)
Career: From 1972 onwards, teacher at the Novi Sad music schools "Josip Slavenski" and "Isidor Bajic". In 1982, appointed an assitant lecturer at the Academy of Arts, Novi Sad. Made advance to the current title of an associate professor. Active in the Composers' Association of Vojvodina. President there of 1989 and 1990. At the Academy of Arts in Novi Sad, together with his fellow-composer Miroslav Statkic, founded a computer and electronic music company named "Art of Electronic Music".
In 1988, founded the "Musica Viva" ensemble of soloists from Novi Sad. They held numerous concerts within the former Yugoslav Music Forum in Opatija and produced recordings for all relevant radio and TV broadcasters in ex-Yugoslavia. Works performed at all significant festivals of former and present-day Yugoslavia, as well as concerts in Switzerland, Germany, France, the USSR/IOS, Italy, England, Australia, Poland and the USA.
Opus: Some 50 pieces of divers music: orchestra and chamber, for the piano, vocal, electronic, music for documentary and feature films, TV-dramas.
Awards: 1990 "Deutsche Werbant" for two compositions for an accordion orchestra - "A Poem" and "A Theme, Its Variations and Finale".
In the period between 1975 and 1988, six First Prizes for original pieces at the Festival of Accordion Music in Pula. Between 1980 and 1990, ten Annual Prizes for the best newly-composed pieces, awarded by the Cultural Fund of Vojvodina. 1984: Medallion for the outstanding efficiency in the Composers' Association of Vojvodina. 1994 and 1996: Professional Jury's Prize of the Union of Composers' Association of Yugoslavia for the works "Vocalisa" (International Composers' Forum, Novia Sad '94) and "Concerto Doppio" (International Composers' Forum Belgrade '96).

CONCERTO DOPPIO
The composition Concerto Doppio is dedicated to Boris Bunjac and Istvan Varga. The movements are: Prologue, Duel and Epilogue. The piece has been written for cello and percussion and consists of three entities (Prologue, Duel, Epilogue) which, in terms of "dramaturgy", make a logicaly interconnected unity. The composer acts as a third performer who parallelly plays four effect-processors. The essence of the procede is to find a code of communication to be shared by electronic and classical instruments. It is the Epilogue that brings reconciliation, moving "downward" and inverting the material from the Prologue; it brings peace, where nobody celebrates victory.

ISTVÁN SZIGETI (1952)
Studied composition at the Béla Bartók Music Conservatory in Budapest as a student of Miklós Kocsár and continued his composition studies under Sándor Szokolay and electroacoustic music with Zoltán Pongrácz at the Ferenc Liszt Academy of Music. His first job, which he started in 1975, was with Hungarian Radio, where he became a musical editor in 1982. Since 1994 he is the art director of the Electroacoustic Music Studio of the Hungarian Radio (HEAR Studio). Between 1986 and 1989 he headed the Youg Composers Group in Budapest. In 1984 he was awarded a Kodály scholarship. In 1981 his "Souvenir de K" won a special prize at the International Composers Competition at the GMEB Electroacoustic Music Centre in Bourges, and "ELKA" was picked as one of the six most succesful compositions of 1984 by the comittee of judges.

IANUS
The composition was composed in 1994 for Yamaha SY77 synthesizer. Both parts have the same length, they sound the same musical material in different key (tune). Performed by the composer.

DANIEL TERUGGI (1952, La Plata, Argentina)
Studied composition and piano in Argentina and in France at the Paris Conservatory (Conservatoire National Supérieur de Musique de Paris) in the department of Electroacoustic Composition and Musical Research. In 1983, he became a member of the INA-GRM in charge of musical production; coordinates creation and teaching on the new digital systems that have been developped at the GRM. Also in charge of a seminar on computer-assisted artistic creation at the Sorbonne (Paris University)
Works for tape:
Sphaera (Eterea, Aquatica, Focolaria, Terra) (1984-1988)
Mano a Mano (with J. Schwarz) (1991)
Instants d'Hiver (1993)
Gestes de l'Ecrit (1994)
Variations morphologiques (1995)
Tempo Primo (1995)
Works with instruments:
E Cosi Via (piano and tape) (1984)
Le Cercle (piano, flute, clarinet and tape) (1986)
Windtrip (saxophone, horn, clarinet, tuba and DX7) (1989)
Xatys (saxophone and Syter) (1988)
Syrcus (percussion and Syter) (1992)
Tempo di basso (saxophone, bassoon, counterbass and tape) (1994)
Saxtenuto (saxophone and tape) (1994)
Gestes Anciens (recorder quartet and tape)
CD's
E Cosi Via, Computer Music Currents 8, Wergo 2028-2
Xatys, Ina-GRM, INA C 2000
Syrcus - Sphaera, Ina-GRM, INA C 1014
Mano a Mano, Celia Records CL 9313

Florent Jodelet (1967, Neuilly-sur-Seine)
Studied percussion with Michel Cais and then at the Conservatoire National Supérieur de Musique in Paris with Jacques Delecluse, obtaining a Premier Prix in 1983. He completed his training with Jean-Pierre Drouet and also studied electroacoustic music with Michel Zbar.
Soloist with the Orchestre National de France, he has played all over the world under the direction of prestigious conductors.

SYRCUS, for Boobama, Ududrum, Syter and various sources (1992)
Florent Jodelet, percussions & Daniel Teruggi, Syter
I remember a percussion concert in a stairwell. The percussionist was one of the greats of the '60s and the composer was also at his height at that time. I could not hear very well (I was on the third floor); I gazed down on the interpreter from the top of the stairs: I could not see the instruments, but only the body and the arms of the instrumentalist, who, seen from my angle, moved around in a strange manner. The musical memory has drifted away in the mists of vertical reverberation, but the visual image is still there.
Some months ago, at a circus where circumstances had again placed me too far away, I gazed at the jungler and his various props, which I could not make out very well. All I could really see was the movements of his arms. The memory of the stairwell merged with the synchronized movements, the play on words did the rest: syter and perccusion giving rise to SYRCUS.
This time - unlike those memories - I am near the source of sound and the precise playing of the percussionist. I pick up the sounds, the playing and mingle them with the memory of his playing that has already been recorded. Florent Jodelet masters the playing: after the dialogues, advice, trials and blendings, he enters the arena and enables the SYRCUS to materialize...
Let the show begin!
D.T.
to CC and KS
Syter is a real time digital processor, developed at INA-GRM. It permits various possibilities for sound transformation and also permits sound synthesis and sound sampling.

BOR TUREL (1954, Ljubljana, Slovenia)
studied composition at the Academy of Music in Ljubljana and later followed various studies and courses in Salzburg, Orford (Canada) and at the Conservatoire de Paris. At the present time he lives and works in Ljubljana as freelance artist and takes on active part in the field of experimental and electroacoustic music. Among more important performances of compositions and projects are participations on festivals F.U.F.U. in Nancy (1979), on 'Biennale des jeunes" and "Journées audiovisuelles internationales" in Paris (1980, 1983), several performances on Music Bienal Zagreb and Music Tribune in Opatija (1980-1991). As collaborator of Radio Slovenia he works in an experimental radiophonic studio ARTES ACUSTICAE (participation on Prix Italia 1992) and in Radio-drama programme, apart from that he also writes music for theatre.

The Four Seasons
The basic material of the composition are the elctroacoustic sequences, realized by the author in the Studio of the Institute for electronic Music at the High School of Music in Graz. The sonic material of exclusively acoustic scores were used for the electronic treatment and sampling. In the final work there are inserts of piano parts giving a specific instrumental timbre, performed by the pianist TATJANA OGNJANOVIC. The texts taken from the Dictionary of Symbols (Jean Chevalier and Alain Ghreebrant, éd. Robert Laffont, 1969; Slovene translation, pub. MK, 1993) have been recorded in the environments of Krizna jama (The Cross Cave) and its surroundings; they are interpreted by the actor PAVLE RAVNOHRIB. On the symbolic level the work represents the musical interpretation of the four-seasons annual cycle connected with the movement of the four cosmic elements: winter-air, autumn-water, summer-fire, spring-earth.
Final mixing was realized at the Radio Slovenia by sound engineer MIRKO MARINSEK, assistant ROK KADAK and by the author. The composition is going to be performed on the WORLD MUSIC DAYS in Copenhagen this year.

HANS TUTSCHKU (1966)
was born in Weimar in 1966. After receiving piano and organ lessons at an early age, he has been engaged with this century's music since he was 16 years old. Since then he has been a member of the Ensemble for Intuitive Music (EFIM), a chamber ensemble at Weimar which performs modern music in connection with live electronics. He studied Composition Using Electronic Sources of Sound with Friedbert Wissmann at the Dresden college of music. Hans Tutschku has been able to participate in several of Karlheinz Stockhausen's concert cycles since 1988 to study Direction of Sound. In 1991/92, he studied Sonology at the Royal Art School, Den Haag, in 1994/95 he worked at the electronic studio of IRCAM (Paris). During the last years, Hans Tutschku worked at synaesthetic projects for dance, multimedia projection and ensemble; he composed several electro-acoustic pieces and music for film, the theatre and the ballet. Since September 1995, he has been teaching Electro-acoustic Composition at the Franz Liszt School of Music at Weimar.
Further achievements:
1989Won Acknowledgement Prize at the International Competition for Electro-acoustic Music in Bourges (France) for "Übergänge"
1991Awarded "Hanns Eisler Prize" by Deutschlandsender Kultur (radio station) for "Die zerschlagene Stimme"
1994Awarded grant by IRCAM/Centre Pompidou (Paris) for "Zu Abend mein Herz"
1995Won Second Prize at the International Competition for Electro-acoustic Music in Sao Paulo for "Sieben Stufen"

LES INVISIBLES
electroacoustic composition about the poem "Es wird später" by Karl Lubomirski - 1996. For some years now, I have been searching for means of expressing interpretations of texts which are not word-settings. The intelligibility of the words plays a minor role only - all I care about is the transmission of sensations into another medium. Thereby, the original text is always being used as sound atom for electro-acoustic adaptation.
"Les Invisibles" (The Invisible) is the result of a co-operation between four French musicians and myself. At first, I composed 25 short musical gestures and five sequences, which were recorded by all musicans. Apart from that, the soprano sang four parts of a counterpoint which processes the text of "Es wird später" in its German as well as in its French version. This sound material was transformed for several months in the studio of IRCAM, Paris, and resulted in an eight channel tape for the composition "Freibrief für einen Traum" (for soprano, flute, violoncello, drums and tape). This composition was recorded during its first performance at IRCAM on the 13th of January, 1996, supervised by Pierre-André Valade. In the case of "Les Invisibles", this concert recording and the eight channel version of the tape played at the same time were the starting point for the creation of two acoustic ranges. This is not about a simple remix, though, but all the sound material was again adapted and distributed in a new way. The compositional structure of the piece is based on the number 5. There are five big sections, which are again divided by five. The material for the pitch is based on five five-note chords, which constitute the 25 gestures mentioned above, too.
By using the program "Patchwork", a graphical environment for composition, I have developed a model that is able to put in motion a musical gesture in a three-dimensional range. During this rotation, the parameters of the same gesture (pitch, rhythm, dynamics) are being transformed into the parameters of the following gesture. The application of this model is mirrored by the instrumental parts as well as by the processes of sound adaptation.

ANDERS VINJAR (1963)
has been working at NoTAM (Norwegian Network for Technology, Acoustic and Music) since the start in 1994. He has been active as a composer since 1990, and most of his work has been within electroacoustic music. He has held various classes and courses on techniques and approaches to electroacoustic music. Anders Vinjar is board leader of NICEM, the Norwegian Section of ICEM.

COIL (1996) for tape - 14'03"
The title "Coil" suggest something about the construction of the work. The piece attempts to lead the listener on a travel which unravels present and distant perspectives on space and time. This modeling of space has been a fascinating experience for the composer. How various aspects of sound-spectral aspects, and placement in time and strength- gives a constantly pulsating experience of space for the listener. The piece tries to pass a thread through space - at times close, at times distant.
"Coil" is composed in 1996. All work is done with CLM, a powerful sound-synthesis language made at CCRMA. Amongst the techniques which have taken part in forming the piece are various types of cross-synthesis, amplitude-modulation, cross synthesis based on FFT- and LPC-analysis, and granular signal processing. These techniques aid in forming the piece by threading out musical characteristics - notes and phrases - from something which originally was a special collection of noise-type sounds. This "game", on the borderline between noise and tone, is interesting.

MIAO-WEN WANG (1963)
Born in Taïwan in 1963, she obtained the higher diloma for composition from the École Normale de Musique de Paris in Yoshihisa Taïra's class and, between 1990 and 1993, studied electroacoustic music with Jean Schwarz (at Conservatoire National de Région de Gennevilliers) and with Michel Zbar (at the Conservatoire National de Région de Boulogne).
In 1993 and 1994 she took the IRCAM composition and musical computing course and won the "Résidence" prize at the 21st International Electro-Acoustic Music Competition at Bourges.
Among her most recent works are:
- Triple d'Automne, for solo flute (1988)
- Trio, for flute, cello and piano (1989)
- Ether, for orchestra (1990)
- Bruit noir, for tape and bassoon (1991)
- Marche sur le sable, for solo tape (1992)
- Nout, for solo tape (1993, given its first performance during 1994 "Présences" Festival)
- Festin Divin, for solo tape (1993)
- Contradiction harmonieuse, for two cellos and tape (1994)

Yu Fong (Flying above the wind), for flutes and tape
"Yu Fong is a philosophical state of mind; concentrating on ones' own mind, after going through several successive stages, one can arrive at a complete separation of mind and body. At that moment the body becomes weightless, as if no longer existed, and the slightest breath of wind could carry it away" (after Lié-Tze).
The structure of this work is inspired by the Yi King system. Yi King has sixty-four forms. In order to use them here, I have transposed them into binary representation:
_____= 0
_____= 1
Once transposed, these forms may be retrograded, inversed, etc. The relationships between the forms determine the sequences of the work.
From this starting-point, one may obtain:
- transitions: 000100 is the transition between 000000 and 100100
100010 is the transition between 100100 and 010010
- retrogressions: 000100----001000
- complements: 001000----110111
The sound material is divided into eight categories according to eight basic characters. Samples of each specific sound (flute, xiao and dytse) are analysed, to extract their frequential make-up, that is to say, the sequence in time of the chords contained in a sound.
Then the results are used in the harmonic basis of the work.
Two methods are used to create new sounds; the compression (or expansion) of the duration of a sound, and the fusion of several sounds. Fusion by synthesis gives different results when the parameters of synthesis are diversified.
M.W.W.

WANG MING (1962, Taiwan/Austria)
She was born in Taipei. 1968-77 primary and secondary education in Taiwan, where she then studied art painting (1977-82), from 1982 to 86 studies on Chinese Music at the University of Taipei, and from 1986 to 89 composition with Nan-Chang Chien. Since 1989 she has pursued her studies at the Hochschule für Musik und Darstellende Kunst in Vienna with Claus Ganter (Music Theory), Dieter Kaufmann (Composition), Igor Lintz-Maues (Electroacoustic Music) and Tamas Ungvary (Computer music). She is a member of the GEM (Austrian Society for Electroacoustic Music).

3 Nachtstücke (3 Nocturnes)
These pieces constitute my first attempt to express musical ideas with sampled sounds. Recordings of street-noises, sounds of everyday life, and digital samples of string instruments were processed and mixed in the studio. I tried to detect similar traits in these sound objects, which resulted in these three little pieces in three different forms.
Wang Ming

ANDREAS WEIXLER (1963, Austria)
Born in Graz. Studies in Composition with Andrej Dobrowolski, Younghi Pagh-Paan and Beat Furrer at the Hochschule für Musik und Darstellende Kunst in Graz. Projects in the areas of contemporary music, electronic music, jazz-related music, music theatre and dance. Editor of the publication series "Beiträge zur Elektronischen Musik". Artistic director of "electronic access", concerts of experimental music. Lecturer at the Institut für Elektronische Musik in Graz. Member of the Director's Board of the GEM (Austrian Society for Electroacoustic Music). Awarded several prizes and scholarships (Austrian National Endowment for Composition, Award for Arts of the City Graz, Austrian Prize for Young Artists, among others)
Participation at electroacoustic music festivals:
1992: Forfest, Kromeric
1993: Festival Int. de Müsica Contemporánea, Bogotá; electronic acces, Graz
1994: Elektronischer Frühling, Vienna
1995: electronic access, Graz; baby-ars, Linz/Hagenberg; Forfest, Brno; Concertos de Música Electroacústica, Brásilia
1996: Elektronischer Frühling, Vienna; Festival Absolute Musik, Allensteig

METHABL 8.7
Methabl 8.7 for tape in 8-channel technique is one piece from a group of works which deals with sound of contemporary music and electronic correpondences. Electronic generators and several other instruments produce unperceivable transitions from natural sound generators to pure synthetic sound generators through electronic manipulations.
Recording of the Austrian premiere in 8-channel technique at electronic acces 95, Graz (sound diffusion: Andreas Weiler), available on CD in co-operation with die andere saite and the Austrian broadcasting corporation (ORF). Premiere of the stereo version at the 30. Festival Internacional de Música Contemporánea, Bogotá - Columbia 1993 (sound diffusion: Igor Lintz-Mauer). Further performance: Concertos de Música Electroacústica, University of Brasília - Brazil, 1995.

BRANKO ZENOVIC (1935)
Conductor, composer and music editor in Radio Montenegro constantly since 1963. He composed many vocal and instrumental acts, mostly using motives of folk music of Montenegro. His most well-known are: "Primorkinja" - play for symphony orchestra, Concertant sketch for clarinet and string orchestra, "15 April 1979" - suite for piano and symphony orchestra, "Listaj goro" and "Lovcen" - two scenes for symphony orchestra. Collection of song from Montenegrian senside and soon.

JOVICA TRAJKOVSKI (1962)
Graduated Technical School, department for telecommunication (acoustics). He is sound master for music recordings in Radio Montenegro.

DYPTICH 6
by the sound and its tonality in the whole reflects distant past and events in Montenegro until the First World War. So in the first scene of Dyptich 6, which is named "Pastirofonija" - the author's sound impression is based on color of strumming (playing) folk instruments: shepherd's flute, double flutes and gusle (with singing). By the tone preparation of some instruments more sound (counterpoint) lines are realized, so by their setling in sound editing is realized the trail from individual performance to common combination of the sounds of characteristical Montenegrian folk instruments. Mostly they were used for playing and singing - when herding sheep. Therefore in editional and final sequence to intensity atmosphere and impression of sound effects of "passing" herd of sheep etc. The second scene of Dyptich 6 is named "Volujica". From the hill Volujica near Bar (Montenegro) where on August 3rd 1904, the first radio-telegraph station in this part of Europe was announced, which was the sign of the beginning of radio diffusion in our country. On the occasion of putting the station into operation a great ceremony was arranged in Bar which was attended by several thousands of people from the town and its surroundings and a number of prominent guests from neighbouring countries. There were many respectable persons of social, cultural and public life of Montenegro of that time. The opening was also attended by the inventor of wireless radio-telegraphy Marconi. At the beginning of 1913 the operation of the radio telepgraphic station was disturbed by Austro-Hungarian ships in the Adriatic sea. Soon the First World War was to start. On target of the Austria-Hungary cannons, as revenge for help that Montenegro offered to attacked Serbia, there was also the radio-telegraphic station in Volujica. It was destroyed on August 8 and punctually after 10 years of its founding it stopped working.

• Supplement in september

• IREM
• Cineac Sonore

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