The booklet quotes Berlioz’s statement that ‘every sound body implemented by the composer is a musical instrument’. More recently, jazz/improv drummer Paul Lytton claimed ‘any noise that doesn’t annoy you is music’. I first heard some of Mâche’s electronic compositions on a compilation LP many years ago and they were music to my ears. I’m less impressed with these pieces.

Mâche was a founder-member of Pierre Schaffer’s Groupe de Recherches Musicales, pioneers of musique concrète, and has continued to find stimulating things to do with electronics. However, while the use of pre-recorded tapes on Maraé works well, the role of the sampler on Khnoum is less successful: Mâche’s intentions are clear but the interaction of the digital keyboard with the acoustic ensemble results in nothing fresh.

Maraé is altogether more interesting and Le printemps (which continues Mâche’s fascination with the sounds of nature) produces some beguiling passages. Though Aera and Khnoum seem overstretched, all the pieces demonstrate the skill with which Mâche can manipulate textures. The sound is as crisp as the performances.