Octophonie takes the opposite direction, so to speak, of the parties taken by Varèse in each of his works. “A piece that sometimes doesn’t take itself seriously” juggling euphoria, sadness, fanfare and dance. Guy Reibel has thus imagined a sort of “music box” merging the timbres, mixing the sounds of the eight instruments in dense and tight chords.

A series of harmonic and rhythmic wefts, crossed by the vocal clamors of the performers, greetings to the master from more than half a century away.