Edgard Varèse (1885-1965)
Poème électronique

György Ligeti (1923-2006)
Glissandi, pour électronique
Artikulation, pour électronique

Bruno Maderna (1920-1973)
Musica su due dimensioni, pour flûte et bande stéréophonique

Luciano Berio (1925-2003)
Différences, pour 5 instruments et bande stéréophonique
Visage, pour voix et électronique

Helmut Lachenmann (1935-)
Szenario, pour bande magnétique

Jonathan Harvey (1939-2012)
Mortuos Plango, Vivos Voco

Pierre Boulez (1925-2016)
Dialogue de l'ombre double pour clarinette et dispositif électroacoustique

Brian Ferneyhough (1943-)
Mnemosyne, pour flûte basse et bande pré-enregistrée

Cathy Berberian, voix
Tomomi Matsuo, flûte
Rafal Zolkos, flûte
Felix Behringer, clarinette
Grigory Maximenko, alto
Isabel Gehweiler, violoncelle
Polina Skryabina, harpe
Florian Bogner, projection sonore
Carlos Hidalgo, projection sonore
Kees Tazelaar, projection sonore
Alvise Vidolin, projection sonore
Georg Köhler, direction
Germán Toro Pérez, projection sonore, direction

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 Vare`se’s Poe`me e´lectronique (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 Germa´n Toro Pe´rez.