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6 pièces avec voix: Recording of Simon Jaunin's 6 pièces avec voix. For pre-recorded voice, percussion, and electronics. The composer writes: "An informal exchange between a reciter of considerable renown and not mentioned. The pieces revolve around the persistence of salient discursive elements in an unstable sound field. In addition, a strong tension is created between the mechanical aspect of development and freedom of tone."
11 september: Recording of Carl Bergstrøm-Nielsen's "11 september." The text is from a document called "What is MIR?" which was sent out illegally in Chile in 1974 and from the appeal of MIR two years after the taking over by the junta, on September 11, 1975. A left-wing party, MIR stayed in Chile in order to contribute as efficiently as possible to the building of the opposition. Other sound material also includes sounds from a typewriter and a demonstration at Bastad, Sweden in September 1975 at a tennis match between Sweden and Chile with more than 4,000 participants. The text is taken in small excerpts from the document in Spanish, English, Swedish, Danish, French, Dutch, and Icelandic. The piece consists of three sections overlapping each other gradually, which shows the relationship between the spoken words and the immediate danger connected with that text. The first section "as a spontaneous statement," deals with the document at its direct background: the silence is broken, in spite of the danger connected with the writing, manifolding papers that criticize the politics and methods of the junta and discuss the strategy of the opposition. The second section deals with the document as a medium of discussion. At the end of this section, the "media-environment," "almost as a magazine on foreign affairs," is broken by shouts from the demonstration at the Bastad which were heard directly in Chilean TV. The third section is about the appeal of MIR as a direct request to the audience: to isolate the junta through a boycott of Chilean products and through demanding from national politicians to break the silence which has long been maintained, among other places in the United Nations of which Chile is still a member. Inspiration for the piece came from the composer's participation in the activities of the …
12 heures 45 minutes: Recording of Patrick Fleury's 12 heures 45 minutes.
1789-1989: Recording of Juan Blanco's 1789-1989. This piece aims to expose how the French Revolution, through the Declaration of the Rights of Man and of the Citizen, inspired the liberation movements of the people against the oppressive and tyrannical governments. The piece is divided into two parts, which give a sound panorama of the triumph, using electronic and acoustic equipment, the latter taken from songs of the time: "Departure to Place de la Bastille"; "Place and capture of the Bastille", "Lamentation of Louis XVI" and "The Permanent Guillotine", and ends with a few words from the Declaration of 1789, in French.
1er quatuor, pour deux violons, alto et basse, oeuvre 5: Musical score containing the four parts of Charles Dancla's first string quartet, op.5 in F minor, written for two violins, with alto and bass.
7e. quatuor, pour deux violons, alto et violoncelle, oeuv.80: This is a digital copy of the four parts of Charles Dancla's seventh string quartet, op.80 in D minor. Charles Dancla was the most prominent member of a family of musicians and a virtuoso violinist, composer and teacher. In 1828, he was admitted to the Paris Conservatory of Music, where he won the first prize in 1833. At the Conservatory, he studied violin with Paul Guérin and Pierre Baillot. Dancla played solo violin with the orchestra of the théâtre Royal de l'Opera Comique and with the Société des Concerts. In ca. 1860, he was appointed professor of violin at the Paris Conservatory and retired from that post in 1892. He wrote 14 string quartets intended for professional or amateur players (opp. 5, 7 ,18, 41, 48, 56, 80, 87, 101, 113, 125, 142, 160, and 195a) and three easy string quartets (op. 208).
Abominable A: Recording of Luigi Ceccarelli's "Abominable A" for magnetic tape. The piece includes the voices of Kadigia Bove, Francesca Furlanetto, Eugenio Giordani, Luciano Martinis, Michela Mollia, Achille Perilli, Marina Poggi, Enrico Pulsoni, Giovanni Puma, Kerstin Riemer, Claudio Rufa, Stefano Scodanibbio, Gaetano Trusso, and Catherine Verwilgen. The piece contains a recitation of all the words in the Italian vocabulary that begin with the letter A, read in sequence from voices with different stamps, rhythms, and intonations. To these are added other sequences in French, German, and English. The work is divided into fifteen sections, each of which has a different criterion for processing the timbre, rhythm, and space. It was realized at the Electronic Laboratory for Experimental Music at the Conservatory "G. Rossini" in Pesaro from 1978 to 1980.
Les accords d'Helsinki: Recording of Steve McCaffrey and François Dufrêne's Les accords d'Helsinki. These pieces are part of a suite for electronics. Sound materials include vocalizations and spoken text.
Achille et Polixene, tragédie dont le prologue & les quatre derniers actes: Achille et Polixene, Jean-Baptiste Lully's last opera, premiered on 7 November 1687, eight months after Lully's death on March 22 of that year. Since the composer had only finished the overture and first act, the score was completed by Pascal Colasse, Lully's secretary and student, to a text by Jean Galbert de Campistron based on events in Virgil's Aeneid.
Actualitanie: Recording of Serge Bouc's Actualitanie. This is a work for electronics that contains various samples of spoken word.
Adieu petit prince: Recording of Ton Bruynèl's radio composition on the theme of "Le Petit Prince" by Antoine de Saint-Exupéry, "Adieu petit prince." The text of the composition is partly taken from a critical analysis of the children's book entitled "Fantaisie et mystique dans le Petit Prince" by Yves le Hir. The piece was commissioned by the Netherlands Broadcasting Foundation.
Agnaby: Recording of Francesco Giomi's Agnaby. Realized at the Sheffield University Sound Studio (UK). Agnaby is an electroacoustic drama freely inspired by the novel "L'Etranger" by Albert Camus. It is also an attempt to get in touch, from a musical point of view, with Arab culture and language. The material is derived from a) environmental sounds of the Arab urban life and culture; b) fragments from Arab traditional music and texts; c) excerpts from the French text of the book read by Daniel Arfib. The objects, having pre-existing functions and carrying intrinsic associations and meanings, have been processed with different algorithms in order to create different degrees of transformation and recognizability. The formal structure of the piece is divided into two parts; the first follows the idea of a story taking place in an open and free space, with its noises and its sonic life; the second moves along the idea of a close and narrow environment, the courthouse of the novel, with its people, its atmospheres and its more introverted and predestined character. Agnaby was realized during a period of composer residence at the Department of Music of the University of Sheffield and it was premiered in Cagliari during the 1997 Spaziomusica Festival.
L'agrippe des droits: Recording of Henri Chopin's L'agrippe des droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier. Henri Chopin's "Audiopoems" was originally realsed on cassette by Edition Hundertmark as 89. Karton in 2001. Only 500 copies were released.
L'Agrippe des Droits: Recording of Henri Chopin's L'Agrippe des Droits. One male voice reads the poem which is then electronically processed. Written for Christian Clozier.
Ahora: Recording of Ivan Pequeño's Ahora.
Aï∂a ∂omi: Recording of Mia Schmidt's Aï∂a ∂omi. The spoken word, on which the composers short composition for tape "a rose is a rose" is basing, transfers two antithetical messages. The poem "rose is a rose" written by Gertrude Stein is a love- poem. The composer added sentences, taken from newspaper articles discussing the brutality of the pornographic industry. The poem is represented by this overtone-spectrum in form of sinus-tones or slightly modified sinus-tones. The sentences from the newspaper articles are normally spoken.
L'aile de l'abeille: Recording of Denis Dufour's L'aile de l'abeille. This work expresses the idea of coming into a new millennium with a history that has been reconstructed and stigmatized. The composer gives a special thanks to Agnès Poisson for the sound recordings used, This work was produced at Motus studio.
Ainsi s'acheva le rêve, ainsi je raconte: Recording of Frédéric Kahn's Ainsi s'acheva le rêve, ainsi je raconte. Work made for electronics.
Airs russes, [op.20]: Musical score for "Airs russes" written for piano by Leopold von Meyer, as part of opus 20. This piece was issued as the second of four pieces published under the title "Repertoire de Léopold de Meyer."
Alba: Recording of Mauro Cardi's Alba. This is a work for electronics, zarb, and spoken word. The composer references the Persian God, Shams Tabrizi, in their description of the piece.
Alceste: tragedie opera en trois actes: According to Grove Music, "when Admetus, King of Pherae in Thessaly, is ill and about to die an oracle announces that he will be saved if someone else is willing to die in his stead. His wife Alcestis displays her conjugal devotion by offering herself; she dies and Admetus recovers. Under the influence of tragédie lyrique, Calzabigi enriched his libretto with choruses, ballets and opportunities for impressive scenery."
Ein Aleatorischer Spaziergang Durch die stadt: Recording of Florian Mutschler's Ein Aleatorischer Spaziergnag Durch die stadt. This work is a reflection on the urban acoustic universe at the same time as a structuralist work on the laser support and the possibilities offered by the readers: 18'19'' of unprocessed sound recordings of urban universes and silence are divided into 99 tracks. By programming the repeat and random keys of his laser reader, the user-listener will transform it into a random music generator in which "acoustic images" will lose their primary meaning of simple "documents" to become sound objects. of an abstract musical montage.
Allie. Nocturne pour le piano: For piano. Copyright W.F. Shaw.
Amadis, tragedie en musique: Libretto of the 1684 opera "Amadis," by Philippe Quinolt. The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of "Amadis" at the Opéra in Paris on 18 January 1684. It was an immediate public success. On the title page for this opera, there is a lithograph illustration of the god Apollo holding a lyre and the goddess Euterpe playing a stringed instrument that resembles a guitar. It also depicts the fleur de lis, and on the background, an allegorical image Louis XIV, the Sun King.
Amadis; tragedie, mise en musique: The premiere of Amadis was delayed for a year after Lully completed its composition in order to allow the proper mourning period for Marie Thérese, wife of Louis XIV, who died in July of 1683. While still abstaining from theater at court, Louis XIV at last allowed the first public presentation of Amadis at the Opéra in Paris on 18 January 1684. It was an immediate public success.
Amarcord - Golden age (l'age d'or): Recording of Bor Turel's Amarcord - Golden age (l'age d'or). This piece is the first movement of the work "Amarcord" that the composer describes as a trilogy of sonorous memories. This work was conceived as a combination of electronic, electroacoustic, and ambient instrumental recordings that were all produced in the years from 1976 to 1996.
Amour au village : opera-comique, en un acte, et en vaudeviles: Libretto for Charles-Simon Favart's 1754 opera L'amour au village. Charles-Simon Favart gained prominence for his parodies of extant operas during the middle of the eighteenth century. His L’amour au village (1754), a typical example of the genre, was based on Carolet’s L’amour paysan (1737). The parody technique consisted of setting new texts to existing melodies and writing new dialogue based on a familiar plot. L’amour au village includes a typical vaudeville finale. In the Virtual Rare Book Room’s volume, the melody is included along with the first verse’s text. Because vaudeville finales are strophic (with one repeated melody), the subsequent verses are numbered to indicate each time the melody should begin again.
Les amours des dieux : ballet heroique: Mouret’s Les amours des dieux is classified as a ballet-heroïque, a type of opéra-ballet that was popular during the first half of the eighteenth century. Although the term ballet-heroïque suggests the prevalence of dance, drawing on the divertissement tradition, singing and acting are also integral parts of this genre. What distinguishes the opéra-ballet from the tragedie en musique is the use of separate plots for each entrée (comparable to an act). The segments are not entirely independent, however, in that there is typically a central, overarching idea.
Ancienne Etude - Introduction: Recording of Catalina Peralta's Ancienne Etude - Introduction. This work is dedicated to the baritone, Guido Ebi, and acts as a reflection on the book "Igitur ou la Folie d'Elbehnon" by Stéphane Mallarmé. This work was commissioned by the Culture Ministry of Colombia.
L'Apocalypse: Recording of Xavier Garcia's L'Apocalypse.
Apte: Recording of David Behar's and Xavier Gipulo's Apte. This is a work for electronics that includes samples of electric guitar and French spoken word.
Arkheion, les voix de Pierre Schaeffer: Recording of Christian Zanési's Arkheion, les voix de Pierre Schaeffer. The composer has these remarks on the creation of this piece: In 1996, on the initiative of the Experimental Music Group of Bourges (GMEB), around a hundred composers paid tribute to Pierre Schaeffer. It was on this occasion that I composed a short, outdated waltz, the theme of which is childhood (it is said of Pierre Schaeffer that, when he was a few years old, he would have written a 'treatise on the hoop'). Later, I continued: the railway, the sound object, the single man, relativity in all things to evoke this multiple man who played with all registers and all voices. So many faces which, superimposed, draw a single form. As for Arkheion, the words of Stockhausen (1995) I composed this work from archives (from the Greek, arkheion). Karlheinz Stockhausen was a kind of distant and inaccessible angel, the ideal situation. I had only used one spoken document then. For Pierre Schaeffer, who is closer to me (I took his classes at the conservatory and produced several radio programs with him) I took, here and there, fragments discovered at random in the considerable mass of archives concerning him. With these fragments and the jumble of my memories, I simply wanted to express his look, both disillusioned and astonished (strange contradiction) in front of this experiment, still current, which he proposed in 1948: making music with recorded sound. Thanks to Michel Chion who warmly allowed me to use a few words said by Pierre Schaeffer in La temptation de saint Antoine. Thanks to Andréa Guinez whose bursts of laughter and voices sometimes accompany Pierre Schaeffer's remarks.
Armide: Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
Armide: drame héroïque: Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Armide: Drame héroique, mis en musique: Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Armide: Drame héroique, mis en musique: Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.
Armide : tragedie mise en musique: Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.
L'arracheuse de poussière: Recording of Julien Belet's L'arracheuse de poussière. This is a work for electronics that the composer describes as a "voluntarily unfinished piece of poetic character" with children's voices whispering.
Artillerie lourde: Recording of Candy Trash's Artillerie lourde. The composer wrote this piece with the idea of parenting in mind and separates the work into two parts that represent "father" and "mother" respectively. This piece showcases both the heavy weight of responsibility that falls on parents as well as the joy and support of family. The work has been segmented into 5 separate tracks.
Astrée: Libretto of the 1691 opera "Astrée" by Jean de la Fontaine. Pascal Collasse composed the music of the opera which premiered under the title "Astrée et Céladon" on November 25, 1692.
Attendre et espérer: Recording of Agnés Poisson's Attendre et espérer. This recording was produced within the framework of the open work "Le monde devenu musique l'écoute du siècle". Throughout this recording, the composer's father speaks about his time during war as a prisoner in a concentration camp. The piece overall touches on the horrors and tragedies of war around the world.
Atys : tragedie: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals.
Atys : tragédie lyrique en trois actes: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
Atys : tragédie lyrique en trois actes: The story of Atys was first known operatically through Lully’s opera that premiered in 1676 at the court of St Germain-en-Laye. Marmontel adapted Quinault’s libretto and modified it by removing the prologue and divertissements. He also altered the plot; in lieu of Ovid’s metamorphic ending (to which Quinault had adhered), Atys commits suicide.
Atys : tragedie mise en musique: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Atys; tragedie mise en musique: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Au nom du père: Recording of Claude Hermitte's Au nom du père. This work was created as part of the open work project at the Synthése Bourges festival in 2003. It is meant to incapsulate the sounds that are heard from a newborns perspective. The voices of their father and mother and how these first sounds create the newborns first impressions of the parents.
L'autre: Recording of Edmund Campion's L'autre. This work explores the similarity between "consciousness and the unconscious" and the "contention for ascendancy between poetry and music". The piece begins with an emergence of consciousness - the birth of language out of sounds and syllables and dives into the development of the two elemental principles.
Babel: Recording of Jorge Rodrigo Sigal's Babel. This work is part of a larger CD project called "Manifesto". The piece is meant for flute, tape, and optional live electronics. The sound materials were recorded in Spain, France, and Mexico City. The composer dedicates this work to Stefano Scarani and it was premiered by Mr. Harrie Starreveld.
Il bacio (d'Arditi). Valse de Salon. Op. 97: Copyright W.F. Shaw. Publisher number 184 9.

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