Mind Breaths is about breath, which might seem paradoxical in a concert about mechanical music. However, I wanted to make the musical discourse unfold like a machine that would almost seem to be alive. Throughout the composition, I wondered about the sometimes narrow gaps that can separate machines from “animated” living beings, and it is indeed the breath that could most strongly produce the illusion of life. Thus Mind breaths begins in the extreme low register, with a slow swing between two notes, G and A, a wave movement deployed throughout the work, to end with a high note held for a long time by the double bass, heady like an electrocardiogram receiving no signal.

The breath of the spirit is precisely what a machine lacks. Let us note that etymology teaches us that an animal is defined as a being which possesses an “anima”, i.e. a breath, and by extension a soul.