Relativity of sounds and noises
F-B. Mâche, who was seeing for the first time a concert entirely devoted to his works, gave Nuit (1966, for magnetic tape), Kemit (1970), a darbouka solo from Nubia, transcribed by the composer ("against a paralysing respect for traditional music, and against its preservation in an aspetised showcase, I wanted to wager that in some cases, like this one, they had enough vitality to withstand transplantation into a foreign social setting - the concert - and enough universality that their interest did not lie entirely in their original function. "In addition to these works, there are two others: Korwar and Temes Nevinbür, a kind of "theme and variations" consisting of a magnetic tape on which raw sounds are recorded and which each time receives different instrumental "veneers": harpsichord (Korwar), two pianos and two percussion instruments (Temes Nevinbür), orchestra (Rambaramb) and which can even be heard on its own (Agiba). With their extraordinary variety, the very fine sound results each time vividly demonstrate the relativity of sound, noise and music, and the non-existence of the boundary that is supposed to separate them.

				Gilbert-Jean Faccarello Nouvelles Littéraires 1 May 1973

One observation must be made, which will reassure the advocates of a music called 'human', not without equivocation. Purely electronic works are in decline. Nothing new has been proposed in this area by Jean-Etienne Marie (Symphonies, 1972) or François-Bernard Mâche (Nuit, 1966).

                                 A.Koekelberg, la Libre Belgique, 3 May 1973