1. L'ASSAUT SUR LA RAISON for Symphony Orchestra, no. 386 - 8460K MP3 [7:24]

2. LA FLOR EN LA COLINA for Flute, Clarinet, Violin, Violoncello and Pianoforte, no. 388 - 1980K MP3 [17:18]

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 Seljaśka 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 Kuhaś (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

3. SONUS DULCIS for String trio, no. 375 - 7320K MP3 [6:24]

‘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

SONUS DULCIS for String Orchestra, no. 375j (2000, Rev. 2003) In 2003)

In 2003, the work was especially arranged and revised for the Oare String Orchestra, to be then recognized as the Joint-Winner of the Judges’ Prize and Winner of the Audience Prize of the 2003 Oare String Orchestra Third International ‘Music for Strings’ Composing Competition (Faversham, UK).

YouTube Video
Sonus dulcis for String Orchestra, no. 375j (2000, Rev. 2003)
Performance at the ‘Primavera Vien Danzando’ as part of the Southern Cross Philharmonia 2009 Concert Series
Recorded live at Melba Hall, University of Melbourne, Parkville, Melbourne, Australia, 24 September, 2009
The Southern Cross Philharmonia Orchestra conducted by Gerald Gentry


4. ECHOES FROM THE PAST for Flute, no. 363b - 6580K MP3 [5:45]

‘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

5. RISHIS AND SAINTS for Violoncello and Prepared Pianoforte, no. 398 - 1320K MP3 [11:34]

‘Rishis and Saints’ for Violoncello and Prepared Pianoforte was especially composed for Alister Barker (violoncello) and Michael Kieran-Harvey (pianoforte) as part of the Bayside City Council ‘2007 Resonance Music Series,’ and is dedicated to the memory of Mahatma Gandhi (1869-1948) and his gospel of non-violence. The work was directly inspired by the rhythmic devices of South Indian ‘Carnatic’ classical music (Karnātaka Sangīta) and the art of konnakkōl, which according to Ludwig Pesch and T. R. Sundaresan in Eloquent Percussion: A Guide to South Indian Rhythm is the “artful combination of rhythmic syllables,” or the “technique using spoken syllables (jati) to convey rhythmic patterns (śollukattu).” The pulse of the work is set around a slow tempo (vilambita kāla) and structurally, three distinct time cycles, or tālas are featured, which include the following three jati variants of the triputa tāla: tiśra jāti triputa tāla (3+2+2), caturaśra jāti triputa tāla (4+2+2) and miśra jāti triputa tāla (7+2+2). The pitch material on the other hand is based on the progressive modal expansion of the chromatic scale, which begins with the presentation of one single note, and consequently followed by systematic intervallic saturation.

Performance at the 2007 Resonance Music Series ‘East Meets West Concert’
Saturday, 10 November, 2007, Trinity Uniting Church, Brighton, Melbourne, Australia
© 2007 Andrián Pertout

Alister Barker – violoncello
Michael Kieran Harvey – prepared pianoforte

6. NAVIGATING THE LABYRINTH for String Orchestra, no. 385 - 9490K MP3 [8:18]

To even begin to understand the significance of the labyrinth in this work, one must turn to the noble life of the modern composer and attempt to picture his or her eternal struggle between the ailments of passion and monetary responsibility. This is where the labyrinth begins its treacherous relationship with the composer, and also where the composer learns the art of turning the other cheek when struck hard by the sad truths of artistic life. The labyrinth nevertheless continues on with its resolve to sabotage the path, adopting a strategy founded on psychological intimidation, and in response to this threat a sixth sense emerges within the composer’s psyche, with ‘navigating the labyrinth’ consequently assumed as part of a daily survival ritual.

The pitch material of ‘Navigating the Labyrinth’ utilizes one main ingredient, being an octatonic (or the diminished ‘half step-whole step’) scale, which on this occasion represents the symmetrical altered eight-note scale consisting of a succession of alternating minor and major second intervals (a synthetic scale formation). In transposition this scale is limited to three possible forms, being (i) C, Eb, F# and A (a ‘whole step-half step’ pattern – the basic structure of the octatonic scale); (ii) G, Bb, C# and E (forming the alternative ‘half step-whole step’ pattern); and (iii) D, F, G# and B.

Recorded at the Iwaki Auditorium, ABC Centre, Melbourne, Australia, 23 April, 2003
© 2002 Andrián Pertout

The Melbourne Symphony Orchestra conducted by Warwick Stengards

YouTube Video
Navigating the Labyrinth for String Orchestra, no. 385 (2002)
Composed by Andrián Pertout
Recorded live at the Teatro Municipal de Ñuñoa, Ñuñoa, Santiago, Chile, 3 December, 2010
Orquesta de Cámara de Chile conducted by Rodolfo Fischer


7. BÉNÉDICTION D'UN CONQUÉRANT for Symphony Orchestra, no. 390 - 1290K MP3 [11:16]

8. PANC HAZAR CHAKRA KAI ANDAR for Prepared Multi-tracked Disklavier, no. 373 - 6490K MP3 [5:40]

9. AN HONOURABLE SILENCE for Solo Santur, no. 379d - 8160K MP3 [7:08]

10. EXPOSICIONES for Sampled Microtonal Schoenhut Toy Piano, no. 392 - 8010K MP3 [7:00]


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
2. CAPTAIN STURT, no. 134 "MURRAY RIVER QUEST" - 930K MP3 [1:19]
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
3. CASTLE OF SHADOWS, no. 263 "CASTLE OF SHADOWS" - 1110K MP3 [1:37]
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
4. REVELATIONS, no. 304 "THE AUSTRALIAN BALLET" 1000K MP3 [1:28]
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 - 2740K MP3 [3:00]

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
2. LE TOUCHE, no. 355 "Jungle Mix" - 3560K MP3 [3:54]
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
Winamp music player

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

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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. 2009)
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, Rev. 2010)
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)
Nueve sinfonías for Symphony Orchestra, no. 410 (2009-2010)
Carobne for Tamburica Orchestra, no. 412 (2010)
Ñamkonün (En la profundidad de las aguas), Concertante for Chamber Orchestra, no. 415 (2011)



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, Rev. 2009)
— .  for String Quartet, no. 375b (2000, Rev. 2009)
— .  for Flute, Guitar and Violoncello, no. 375c (2000, Rev. 2009)
— .  for Soprano, Sho/Saxophone and Percussion, no. 375d (2000, Rev. 2006)
— .  for Piano Trio, no. 375e (2000, Rev. 2009)
— .  for Soprano, Sho/Saxophone and Pianoforte, no. 375f (2000, Rev. 2007)
— .  for Clarinet and Pianoforte, no. 375g (2000, Rev. 2009)
— .  for Flute, Violoncello and Pianoforte, no. 375h (2000, Rev. 2009)
— .  for Violin, Bass Clarinet and Accordion, no. 375i (2000, Rev. 2003)
— .  for Trumpet, Violoncello and Pianoforte, no. 375k (2000, Rev. 2004)
— .  for Guitar Quartet, no. 375l (2000, Rev. 2007)
— .  for Soprano and Pianoforte, no. 375m (2000, Rev. 2008)
— .  for Clarinet, Violin, Violoncello and Pianoforte, no. 375n (2000, Rev. 2008)
— .  for Large Ensemble, no. 375o (2000, Rev. 2009)
— .  for Oboe, Saxophone, Violin, Violoncello and Pianoforte, No. 375p (2000, Rev. 2009)
— .  for Flute, Clarinet, French Horn, Violoncello and Pianoforte, No. 375q (2000, Rev. 2009)
— .  for Violin and Pianoforte, no. 375r (2000, Rev. 2010)
— .  for Alto Flute, Bass Clarinet and Guitar, no. 375s (2000, Rev. 2010)
— .  for Woodwind Quintet, no. 375t (2000, Rev. 2011)
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)
Cinq petites mélodies for Pianoforte, no. 400 (2008)
Pi (Obstruction) for Toy Piano, no. 401 (2008)
— .  for Two Vibraphones, no. 401b (2008)
Riesenschritte for Alto Saxophone and Pianoforte, no. 402 (2008)
— .  for Trombone, Pianoforte, Contrabass and Percussion, no. 402b (2008, Rev. 2009)
— .  for Alto Saxophone, Clarinet and Pianoforte, no. 402c (2008, Rev. 2010)
— .  for Alto Saxophone, Violin, Viola, Pianoforte and Contrabass, no. 402d (2008, Rev. 2010)
The Elements for Violin, no. 403 (2009)
The Luò Shu for Soprano and Bass Saxophones, no. 405 (2009)
Melancholia for Four Percussionists and Thirty-Six Found Objects, no. 406 (2009)
— .  for Two Percussionists, Twenty-Four Found Objects and Eight-Speaker Sound Diffusion, no. 406b (2009)
Zero all’infinità for Guitar, no. 408 (2009)
Estrellita for Pianoforte, no. 409 (2009)
Un verso infantil para Juan for piccolo, oboe, alto saxophone, violoncello, guitar and toy piano, no. 413 (2010)
Luz meridional, Twenty-four Études for Pianoforte, no. 411 (2009-2012)
Una danza chilena for Violoncello and Pianoforte, no. 416 (2011)



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 Schoenhut Toy Piano and Twelve-Speaker Sound Diffusion, no. 397 (2007)
A borboleta for Robot Orchestra, no. 404 (2009-2011)
Le petit agneau for Harmonic and Polytonal Bells, no. 407 (2009)
Sonando los cambios for Harmonic and Polytonal Bells, no. 414 (2010)



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

Acuérdate de mí for Mezzo-Soprano, Pianoforte and Cajón, no. 271 (1988, Rev. 2008)
— . for Mezzo-Soprano and Pianoforte, no. 271b (1988, Rev. 2008)
Als der Apfelbaum blühte for Soprano and Pianoforte, no. 384 (2001)

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Complete List of Works

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