Claudine Simon and Christian Sebille both have a relationship with musical writing, even if their training and careers have taken dissimilar paths. Claudine Simon, seeking to divert the instrument she has always played, questions her intimate relationship with the piano. As for Christian Sebille, seeking to rediscover the pleasure of immediate instrumental play, he develops controlled electronic lutherie.

The search for timbres within the piano provides the sound material for the transformations brought about by the electronics. Improvisation is built through the dialogue between the two musicians, thanks to the coming and going of sonorities and musical proposals.

Then emerge reminiscences, evanescent phantoms between the materials and sound features of three preludes by Claude Debussy. They form the perspective axes of the stroll. The landscape changes and metamorphoses between the thickness of the sounds, the memories that form our memory and the new discovery of a never-before-seen panorama.