Roman Berger - Transgressus IThe composition Convergences I (1968-69, recorded in 1990, violin solo Alexander Jablokov), creates the conception and material base of Transgressus I. The idea of transgression was already coded into the cycle Convergences: In the late 60ies there was a general opinion about the impossibility of connection of structures and techniques of New music - and mainly styles related to them - not only with basic structures of traditional composing, but even between each other.
Convergences are an attempt to cross this barrier with the help of certain "basic modulations", following transformations, processes of morfogenesis, etc. In the background is a non-verbalized phrase "From Xenakis - to Gregorian chorale", containing an intuition of unity, universality of musical space.
The Transgressus I composition is the next step in this direction. Ad illustrandum some aspects of "crossing the border":
* By means of technique of synchronous transposition are clusters generated out of violin voice material - polyphony of varied density ("color") based on the system of micro interval scales (not only another kind of scale, overarching tempered tuning, but a whole scale system);
* A crossing of the border of the orchestral set, consonance and beat (f.e. the complete composition is a continuous accelerando ending in a kind of "super-allegro", impossible to reach in an other way);
* The composition crosses the borders of actual convention in the sphere of electronic music poetry, it leads to its basic categories: the opening epic Grave is interrupted by lyric polyphonic elements; the moment of genesis of a lapidary form is a moment of jump into the dramatic part of composition.
And in conclusion - another aspect of "transgression". I returned to the Electroacoustic Studio after a very long break. A part of my work consisted of inspiring dialogues with my partner Juraj Duris about basic questions of composition and art. And the dialogue/reflection of working process "converged" into a common idea: not to accept the charming suggestions of intelligent equipment, but to "cross" the magical border of technological ideology.
It seems to me, that the principle of transgression is universal in character. - Roman Berger, Bratislava - 20 September 1993

Laszlo Dubrovay - Concertino for Digital Piano and Digital Orchestra
The composition employs special tonal system. The octave is divided into 36 intervals.
The point of this three-part piece is, that the special harmonic system enables to synthesize the features of traditional piano concerts (virtuosity, brillance), microtonal system and sound colours typical for rock music. The combination creates innovative intonation of the composition. Technical cooperation: Adam Kard, Istvan Horvath - Laszlo Dubrovay - October 1994

Alois Simandl Pinos - Panta rhei ?
The composition Panta rhei consists from three parts: Antifona, Metamorphosis and Catharsis.
Antifona is dominated by alternation and penetration of male and female voices, i.e., contrast of male and female elements and, at the same time, alternation of instrumental and syntesized percussion attacks, i.e., contrast of human and machine elements.
In Metamorphosis, the syntesized euphonic sounds are gradually shifted and transformed. The predominantly consonant music is transformed into conflict, even drastic sound. The lyric changes to dramatic, tragic scene.
Catharsis begins with piercing noise block that gradually dissolves, softens and lightens. The chorale, inspired by Ambrosian eulogy Te Deum laudamus sounds for the first from distance, for the second time more clearly and, for the third time as a hymn at the end of the piece.
The composition can be understood as contemplation on the world and life with its changes and constant values.
The composition was realized in Experimental studio in September 1984 - February 1985.
Technical cooperation: Jan Backstuber - Alois Simandl Pinos

Simo Lazarov - Singing More
Voices from mountains surrounding Sofia are the basic sound source of the composition. My idea has been to attain an associative effect by means of overdubbing and modification of original sound and songs, bearing in mind the wide variety and richness of the Bulgarian folklore and the immense attention it has gained abroad over the past few years. I hope my point of view will submerge you in the intonational atmosphere of Bulgarian folklore. - Simo Lazarov - October 1994