1. L'ASSAUT SUR LA RAISON for Symphony Orchestra, no. 386 - 6770K MP3 [7:24]

‘L'assaut sur la raison' was composed for the Tasmanian Symphony Orchestra as part of the 2003 Australian Composers' Orchestral Forum.and in 2004 it was the recipient of the Indiana State Univerisity Contemporary Music Festival/Louisville Orchestra Composition Competition award.

Philosophically, the work represents not only a personal statement in condemnation of the general act of war, but a collective reaction encompassing the artistic world at large. In time ‘L'assaut sur la raison' will be incorporated into a multi-movement symphonic work – essentially a war symphony – with this first movement although directly inspired by the 2003 Iraq war, also intended of having a connection with more general world events, and the illogical thought process behind war, hence ‘The assault on reason'.

In the first ACOF (Australian Composers' Orchestral Forum) diary entry of May, 2003 the composer states: “I began to think about what was emotionally driving me, and could see that just like many other people around the globe my grey matter was being seriously disturbed by the current oil rush. I began to think about how I could express my disillusionment in mankind, and decided that I could best do this via the protest words ‘L'assaut sur la raison' or simply, ‘The assault on reason'.”

The issues then revisited in the third diary entry of August, 2003 with the following comments: “In my first diary entry I spoke of the desire to ‘express my disillusionment in mankind' via the protest words ‘L'assaut sur la raison'. Have some of the philosophical issues of war, its initiating framework, and what I termed as ‘The assault on reason' been adequately addressed by the music? Most probably not, as the brutality of war and the actual preceding mindset – of the protagonists of war, which is what ‘The assault on reason' was primarily concerned with – can never be musically interpreted with the appropriate amount of dignity and conviction. It may be simple to say that the colour of blood is red, but is the colour red musically speaking, a particular collection of exclusive pitches, a formulated harmonic language, or an impressionistic musical landscape dedicated to the depiction of the anguish that this kind of inhumanity no doubt delivers? And to complicate matters even further, what colour is the foreword, or overture? Is it some lesser degree of magenta and yellow in the process colour spectrum of cyan, magenta, yellow and black?”

Recorded live at the Indiana State University 38th Annual Contemporary Music Festival, ‘Plugged In: Music With an Electric Edge', November 10-12, 2004, Terre Haute, Indiana, USA
12 November, 2004, Tirey Hall, Tilson Music Hall, Indiana State University, Terre Haute, Indiana, USA
© 2004 Andrián Pertout

The Louisville Orchestra conducted by Robert Franz

The ideological notion of promoting Croatian folk art as a means of establishing national pride in a united declaration of a ‘Croatian' identity was introduced in the nineteenth-century by the Illyrian movement. Folklore festivals, a direct result of nationalist movements initiated during this time, were introduced in the 1920s by the cultural branch of the Croatian Peasants Party or the Seljaœka Sloga (Peasant Unity) in order to politically affirm the status of folk art within national culture. The 1935 Zagreb Festival of Village Singing Choruses representing the first attempt at presenting music outside of its traditional context, and therefore ideologically connecting rural and urban cultural environments. Today there are over seventy festivals, with the most important being Zagreb's Meðunarodna Smotra Folklora (International Folklore Review), while the Festival Dalmatinskih Klapa (Dalmatian Klapa Festival) of Omiš, established in 1967 represents one of few festivals dedicated entirely to the presentation of music (excluding dance) alone.

Franjio Ksaver Kuhaœ (1834-1911) regarded as the founder of Croatian ethnomusicology notated over 2,000 traditional songs, resulting in the publication of five volumes of South Slavic national songs in Zagreb between 1878 and 1881, and the dissemination of this repertoire to generations of musicians and scholars. The quotation of the klapa song Cvit mi je u gori within the work La flor en la colina (The Flower on the Hill) for Flute, Clarinet, Violin, Violoncello and Pianoforte pays tribute to this great scholar and the city of Zagreb, which has “enhanced our civilization through its contribution to music, culture and history”, at the same time attempting to make a contemporary contribution to the preservation of traditional Croatian folk melodies.

Recorded live at the International Society for Contemporary Music (ISCM) World Music Days 2005 / 23rd Music Biennale Zagreb, 15-24 April, 2005, Zagreb, Croatia
17 April, 2005, Muzej Mimara, Zagreb, Croatia
© 2005Andrián Pertout

The Sonemus Ensemble (Bosnia-Herzegovina)
Ališer Sijaric – Artistic Director
Vedran Tuce – bass clarinet
Boris Previ š ic – flute
Julia Gubaidulina – pianoforte
Petar Haluza – violin
Conradin Brodbek – violoncello

‘Sonus Dulcis’ or ‘Euphony’ is an exploration of the system of just intonation, or pure intervals (whereby “frequencies of the individual tones reflect the precise mathematical proportions that occur in the harmonic series”), and therefore attempts to avoid sequential intervals with non-superparticular vibration ratios.  Its pitch material features the Japanese ‘In’ scale – essentially a hemitonic pentatonic scale incorporating two auxiliary tones.

Recorded live at the 2002 Asian Contemporary Music Festival ‘Asian Music in New Millennium’
The 22nd Asian Composers League Conference & Festival, 3-9 May, 2002, Seoul and Suwon, Korea
Chamber Music Concert VII
9 May, 2002, Kumho Art Hall, Seoul, Korea
© 2002 Andrián Pertout

The Sori Ensemble
Hur Hee Jung – violin
Choi Ye Seon – viola
Lee Sook Jung – violoncello

‘Echoes from the Past’ is essentially free twelve-tone composition, and its pitch material derived from a matrix constructed from a ‘prime’ or ‘original’ row, it’s retrograde, inversion, retrograde-inversion, and their twelve transpositions; then further developed by ‘multiplicative transformation’, ‘rotation’ and ‘derivation’.  All these methods are used freely, and final pitch adjustments adhere to no strict 12-tone composition schools.  Many extended flute techniques are also explored.  The piece is structured around an arch form, with the second half being literally a retrograded copy of the first half.

Performance by the Society for Chromatic Art ( SCAnyc)
Recorded live at Christ and St. Stephen's Church, New York , NY, USA, 31 May, 2005
© 2005 Andrián Pertout

John McMurtery – flute

‘Panc hazar chakra kai andar’ or ‘Within Five Thousand Cycles’ attempts to explore the Disklavier within the context of John Cage inspired piano preparations (utilizing machine screws, flat mudguard and standard washers, plastic and brass olives, paper clips, cup head bolts, hex full nuts, white board and fold back clips), North Indian ‘Hindustani’ derived cyclic rhythmic patterns, analogue synthesis, digital effects processing, studio generated harmonic resonance or 'sympathetic vibrations' and modern digital hard-disk recording technology.[more information]

Recorded at Andrián Pertout Studio & University of Melbourne Studios / Engineered and mixed by Andrián Pertout
Programming by Andrián Pertout
© 2000 Andrián Pertout

Andrián Pertout – Yamaha Disklavier

6. AN HONOURABLE SILENCE for Solo Santur, no. 379d - 6530K MP3 [7:08]

An Honourable Silence for Santur was composed for Iranian artist Siamak Noory, a privileged student of Faramarz Payvar, “one of Iran’s greatest contemporary composers and master Santurists.” He spent eight years with the great master, developing his knowledge and understanding of the complete Persian classical music repertoire. In 1979, the Islamic revolution in Iran bestowed the study of music with an illegal status, consequently bringing about the premature closure of the Music Conservatory – the political and religious upheaval in the country forcing 3,000,000 Iranians into exile. After the fact, for his own ‘anti-establishment’ beliefs in artistic freedom, he too becomes a victim of the ongoing institutionalised persecution, and in 1981 is arrested for playing the piano, and subsequently imprisoned for two years. Siamak ultimately escaped from Iran in 1986 (during the Iran-Iraq war of the eighties), arriving in Turkey as a refugee, to then temporarily settle in Belgium, before establishing a permanent base in Sweden in 1989. An Honourable Silence pays tribute to this Iranian artist, also standing as a dedication to the victims of political and religious persecution from around the globe. The work highlights the 72-string (or 18 quadruple-stringed) box zither within the Persian mode Dastgah-e Homayun, and features an arch form structure with an open solo section as a central point.

Recorded at Andrián Pertout Studio / Engineered and mixed by Andrián Pertout
© 2002 Andrián Pertout

Siamak Noory – Santur

7. BÉNÉDICTION D'UN CONQUÉRANT for Symphony Orchestra, no. 390 - 1990K MP3 [11:16]

‘Bénédiction d'un conquérant' was composed for the Tasmanian Symphony Orchestra as part of the 2004 Australian Composers' Orchestral Forum. Philosophically, the three-movement work (essentially a war symphony) represents not only a personal statement in condemnation of the general act of war, but a collective reaction encompassing the artistic world at large. ‘L'assaut sur la raison', the first movement although directly inspired by the 2003 Iraq war, also intended of having a connection with more general world events, and the illogical thought process behind war, hence ‘The assault on reason', while ‘Bénédiction d'un conquérant' or ‘Blessing of a Conqueror' on the other hand clearly intended for the portrayal of the final act of war – the blessing – and composed in direct response to the mounting global protest against the illegal occupation of Iraq.

‘Bénédiction d'un conquérant' is dedicated to world peace and in particular to Australian organization Victoria Peace Network, which promotes the doctrine: “ The regions' conflicts should be solved in a just and peaceful manner, with the participation and support of all nations and peoples in the region, having regard for the Universal Declaration of Human Rights, international law and the rights of all peoples to self-determination” The artistic goal of the composition being to generate a musical impression depicting the surreal nature of the quest for moral ground by the ‘coalition of the willing'. The dance-like gestures implicit of the contradictory nature of its dual role as liberator and conqueror, and its impersonation as ‘messenger of righteousness with a blessing from God', which resounds as ‘loyal advocate of one more corporate takeover for globalization'.

In striking contrast to the first movement – where an unreasonable tempo (one hundred and ninety-eight beats per minute) and constantly changing meters (duple, triple, quintuple and septuple time) were incorporated into the structure in order to represent ‘The assault on reason' – the current work has been sculptured around a repeated 9/8 melodic ostinato over a constant 4/4 meter.

Recorded live at the Theatro Municipal do Rio de Janeiro, Rio de Janeiro, Brazil, 27 July, 2006
© 2006 Andrián Pertout

Orquestra Petrobras Sinfônica conducted by Rodolfo Fischer

1. THE FALL OF SAIGON, no. 153 "EAST MEETS WEST" -  961K MP3 [1:22]

EAST MEETS WEST  - The Moving Picture Co Pty Ltd
A documentary film that tells the tragic story of the Vietnamese people in their struggle to find a new homeland.

Recorded at Flagstaff Studios / Engineered and mixed by Cameron Craig
© 1984 Andrián Pertout

Andrián Pertout – Steinway acoustic piano, Yamaha DX7, Korg Polysix, snares
Chantal Brown – violin

MURRAY RIVER QUEST - Arbor Productions
A documentary film about the story of Australia's greatest river seen through the eyes of two canoeists on an expedition seeking those incidents of the past behind the legends of today.

Recorded at Flagstaff Studios / Engineered and mixed by Cameron Craig
© 1985 Andrián Pertout

Andrián Pertout – Fender Rhodes electric piano, Korg Polysix
Geoffrey Beatty – oboe

CASTLE OF SHADOWS - Brilliant Films
A stage production with a medieval tale produced for the Australian Film Studios.  The stage set used included a sixteenth century castle set on a hill with a waterfall and mechanical creatures.

Recorded at Music & Effects Sound Laboratory / Engineered and mixed by Doron Kippen
© 1988 Andrián Pertout

Andrián Pertout – Fairlight Series III

THE AUSTRALIAN BALLET - Brilliant Films
A documentary film produced for the Australian Ballet.

Recorded at Andrián Pertout Studio / Engineered by Andrián Pertout / Mixed by Andrián Pertout & Cameron Craig
© 1990 Andrián Pertout

Andrián Pertout – Korg DSM-1, Korg DSS-1, Roland D-550
Rocci Mesiti  – fretless bass
Alex Pertout – bombo, talking drum

1. WORLD OF CHANGE, no. 288 - 3410K MP3 [3:44]

Produced by Andrián Pertout and Cameron Craig
Recorded at the Wasp Factory RB-X / Engineered by Cameron Craig
Mixed at Metropolis Audio, Melbourne, Australia
Soundtools editing by Cameron Craig
Mastered by Don Bartley at Studios 301, Sydney, Australia
© 1989 Andrián Pertout

Dinash Daniel – vocals
Andrián Pertout – keyboards, crash cymbal
Greg Jordan – electric guitar
John Justin – ebo
Rocco Mesiti – fretless bass
Stacey Singh – background vocals
Dominic Welsh – background vocals
Jamaica Williams – background vocals
Ken Auriant – background vocals
Anthony Argiro – background vocals
Alex Pertout – clay pot, kanjira, djembe, congas, tambourine, shaker

Recorded at Peter Grech Studio / Engineered and mixed by Andrián Pertout & Peter Grech
Programming by Andrián Pertout
© 1998 Andrián Pertout

Andrián Pertout – Yamaha S3000XL, Korg DSM-1, Korg DSS-1, Roland D-550

To play sound file/s download Nullsoft Winamp: high-fidelity music player for Windows.

Sumaqllaña (Farewell) for Large Orchestra, no. 370 (2000, Rev. 2002)
— . for Symphony Orchestra, no. 370b (2000, Rev. 2002)
Sonus dulcis for String Orchestra, no. 375j (2000, Rev. 2003)
An Honourable Silence for Marimba and Orchestra, no. 379g (2001, Rev. 2003)
Aristotle’s Rhetoric, Suite for Orchestra, no. 380 (2001-2002)
Broken Sky (A film by Paul Todd) for Pianoforte, Synthesizer and String Orchestra, no. 381 (2001)
Renascence for Pianoforte, Contrabass, Two Percussionists and Orchestra, no. 383d (2001, Rev. 2003)
— . for Symphony Orchestra, no. 383e (2001, Rev. 2003)
Navigating the Labyrinth for String Orchestra, no. 385 (2002)
L'assaut sur la raison for Symphony Orchestra, no. 386 (2003)
Bénédiction d'un Conquérant for Symphony Orchestra, no. 390 (2004)
Bhuwana Agung for Soprano Saxophone and Gamelan Orchestra, no. 399 (2008)



Blue November for Piano, no. 340 (1995, Rev. 1997)
Génesis for Piano, no. 354 (1997)
Passage to Kungklung for Two Percussionists, no. 359 (1999, Rev. 2003)
Fragments of the Soul for Four Percussionists, no. 360 (1999)
Echoes from the Past for Oboe, no. 363 (1999)
— . for Flute, no. 363b (1999, Rev. 2001)
Reich Revisited for Ten Musicians, no. 364 (1999)
Seeds of Passion for Amplified Violoncello, no. 365 (1999)
— . for Amplified Violin, no. 365b (1999)
— . for Amplified Contrabass, no. 365c (1999)
— . for Flute, no. 365d (1999)
Chant d'augmentation for Pianoforte, no. 367 (1999)
Oración Afro-Cubana for Flute and Bass Clarinet, no. 368 (1999)
— . for Flute, Bass Clarinet and Percussion, no 368b (1999)
— . for Flute and Cello, no 368c (1999)
— . for Flute and Bassoon, no 368d (1999)
Transmigrations for String Quartet, no. 369 (1999, Rev. 2001)
— . for Flute and Piano Trio, no. 369b (1999, Rev. 2001)
Ein Deutsches Enigma for Violin, no. 372 (2000)
Sonus dulcis for String Trio, no. 375 (2000)
— . for String Quartet, no. 375b (2000, Rev. 2002)
— . for Flute, Guitar and Cello, no. 375c (2000, Rev. 2003)
— .  for Soprano, Sho/Saxophone and Percussion, no. 375d (2000, Rev. 2006)
— . for Piano Trio, no. 375e (2000, Rev. 2002)
— .  for Soprano, Sho/Saxophone and Pianoforte, no. 375f (2000, Rev. 2007)
— . for Clarinet and Pianoforte, no. 375g (2000, Rev. 2003)
— . for Flute, Cello and Pianoforte, no. 375h (2000, Rev. 2003)
— .  for Violin, Bass Clarinet and Accordion, no. 375i (2000, Rev. 2003)
— . for Trumpet, Cello and Pianoforte, no. 375k (2000, Rev. 2004)
— .  for Guitar Quartet, no. 375l (2000, Rev. 2007)
— .  for Soprano and Pianoforte, no. 375m (2000, Rev. 2008)
Fanfare de mémoire for Brass Quintet, no. 377 (2000)
— . for Flute, Oboe, Clarinet, Violin and Contrabass, no. 377b (2000)
An Honourable Silence for Santur and Chamber Strings, no. 379 (2001)
— . for Marimba and String Quintet, no. 379b (2001)
— . for Marimba and Tape, no. 379c (2001)
— . for Solo Santur, no. 379d (2001)
— . for Solo Marimba, no. 379e (2001)
— . for Marimba and Pianoforte, no. 379f (2001, Rev. 2003)
— . for Santur and Violin, no. 379g (2001)
Aristotle’s Rhetoric, Friendship and Enmity for Brass Quintet, no. 380b (2002)
— . Friendship and Enmity for Brass Band, no. 380c (2002, Rev. 2003)
— . Friendship and Enmity for Brass Ensemble and Percussion, no. 380d (2002, Rev. 2003)
— . Friendship and Enmity for Flute, Clarinet, Bassoon, Trombone and Violin, no. 380e (2002, Rev. 2003)
— . Friendship and Enmity for Flute, Clarinet and Saxophone, no. 380f (2002, Rev. 2003)
— . Friendship and Enmity for Saxophone Ensemble, no. 380g (2002, Rev. 2003)
Canção do Berimbau for Tenor Trombone, Berimbau and Pandeiro, no. 382b (2001, Rev. 2002)
— . for Tenor Trombone, Contrabass and Drum Set, no. 382c (2001, Rev. 2002)
Renascence for Flute, Clarinet, Violin, Violoncello, Piano and Percussion, no. 383 (2001)
— . for 12-Piece Unconducted Amplified Ensemble, no. 383b (2001)
— . for Flute, Clarinet, Violin, Violoncello, Contrabass, Piano and Percussion, no. 383c (2001, Rev. 2003)
Digressioni modali for Tenor Saxophone and Pianoforte, no. 387 (2003)
La flor en la colina for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 (2003-2004)
Zambalogy for Harp, no. 391 (2004)
Symétrie intégrante for Flute, Organ and Electronics, no. 394 (2005-2006)
Aequilibrium for Flute, Clarinet, Viola, Cello, Trombone, Piano and Percussion, no. 395 (2006)
Tres Imágenes Norteñas for Shakuhachi and Harpsichord, no. 396 (2006)
Rishis and Saints for Violoncello and Prepared Pianoforte, no. 398 (2007)



Sonic Junk Yard for Tape, no. 358 (1999)
The Autumn Rains for Reciter, Soprano Saxophone, Electric Piano, Percussion and Tape, no. 366 (1999)
Pañc hazar chakra kai andar for Prepared Multitracked Disklavier, no. 373 (2000)
— . for Three Percussionists, Prepared Pianoforte and Tape, no. 373b (2000, Rev. 2005)
— . for Four Percussionists and Tape, no. 373c (2000, Rev. 2007)
El Primer Viaje for Mixed Ensemble, Tape and Computer, no. 376 (2000)
Görüsmeler for Amplified Èrhú, Sampled Harmonium, Cajón and Bombo, no. 378 (2001)
— . (Tánhuà) for Èrhú, Yángqín, Pipa, Xia Gu and Da Gu, no. 378b (2001)
— . for Amplified Violin, Sampled Harmonium (or Accordion), Viola, Violoncello and Bass Drum, no. 378c (2001)
Canção do Berimbau for Tenor Trombone and Electronics, no. 382 (2001)
Azadeh for Santur and Tape, no. 389 (2004)
Exposiciones for Sampled Microtonal Schoenhut Toy Piano, no. 392 (2005)
La Homa Kanto for Harmonically Tuned Synthesizer Quartet, no. 393 (2005)
Sesenta cuatro campanas for Harmonically Tuned Sampled Toy Piano, no. 397 (2007)
— . for Harmonically Tuned Sampled Schoenhut Toy Piano and Twelve Speakers, no. 397b (2007, Rev. 2008)



The Eyes of Omnipotence for A Capella Choir (SSATBB), no. 374 (2000)

Als der Apfelbaum blühte for Soprano and Pianoforte, no. 384 (2001)