Utwory na płycie:

• 1 Poème électronique (für Elektronik) (1958).mp3
• 2 Glissandi (für Elektronik) (1957).mp3
• 3 Artikulation (für Elektronik) (1958).mp3
• 4 Musica sa due dimensioni (für Flöte und Elektronik) (1958).mp3
• 5 Différences (für 5 Instrumente und Tonband) (1958-59).mp3
• 6 Visage (Elektronische Musik mit der Stimme von Cathy Berberian) (1961).mp3
• 7 Szenario (für Elektronik) (1965).mp3
• 8 Mortuos plango, vivos voco (für Computermanipulierte konkrete Klänge) (1980).mp3
• 9 Dialogue de l ombre doubl (1985) (für aufgenommene und Live Klarinetten) (1985).mp3
• 10 Mnemosyne (für Bassflöte und Tonband) (1986.mp3

Edgard Varese:
Poeme électronique

György Ligeti:
Glissandi
Artikulation

Bruno Maderna:
Musica su due dimensioni

Luciano Berio:
Différences
Visage

Helmut Lachenmann:
Szenario

Jonathan Harvey:
Mortuos Plango, Vivos Voco

Pierre Boulez:
Dialogue de l’ombre double

Brian Ferneyhough:
Mnemosyne

Is a musical performance “historically informed”? Does it do justice to the “original sound”? Is it even possible to truly experience the “original idea” behind a composition when it is performed with “modern instruments”? We are familiar with questions such as these in connection with the interpretation of so-called early music. On this double album they are rigorously applied to so-called new music. Milestones of electroacoustic music – from Varese’s Poeme électronique (1958) to Ferneyhough’s Mnemosyne (1986) – are investigated from a music-historical perspective and presented in a contemporary 5.1 surround edition. The artistic curiosity, scientific relevance and technical know-how that are essential ingredients for such a project are contributed by the Institute for Computer Music and Sound Technology (ICST) at the Zurich University of the Arts, under the direction of Germán Toro Pérez.

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Masterpieces of electroacoustic music – presented in 5.1 surround and stereo