Raphaël Cendo's music seizes us bodily or, more precisely, captures all our senses! His biography is a legend. Upon graduating from the Paris Conservatoire, the jury dared not grant him his full legitimacy. The institution bestowed only a second prix, but his music was already first. He had turned his back on his peers quite some time ago and chosen shortcuts at the risk of being misunderstood. The radical nature of his thinking asserted itself, and he invented the saturation.

The principle of this music is 'a thwarting of the limit, thanks to an excess of energy'. Releasing the instrumental energy, bringing the performer's body into the field of the composition, making the concert no longer a simple disaffected representation but a basic musical act, a sound ritual in which the performer is the officiant. This calls for mad virtuosity from the performers. The sound is metamorphosed. It is no longer a matter of planning but of losing oneself; it is no longer a matter of organising but of cutting a path in an unstable, wild and unknown world, for what is written as much as for he who plays it and he who receives it.