-...an interest that was confirmed at the end of the session, when the majority of the audience insisted on hearing a second time the numbers from the programme that they had just chosen in a referendum. It is quite significant that this choice was made in favour of works such as Prélude, by François-Bernard Mâche, whose formal qualities are particularly apparent.
                                           Robert Siohan, Le Monde, 4 June 1959

-...in most cases, they are no more than experiments. Let us hasten to say that, seen from this angle, certain demonstrations are interesting. For the first concert, the Paris group performed a Prélude by François Mâche.
                                              Robert Siohan, Le Monde, 11 July 1959

- At most they are sounds, sometimes extremely unpleasant, completely devoid of meaning". 
Dimitri Shostakovich, interview on Warsaw Autumn, Sovietskaia Mouzica, quoted in Le Monde, 17.11.1959 - 

"A prelude is a prelude. This is more like a symphony". 
Remarks by Alfred Cortot, heard at the Salle Gaveau concert on 26.5.1960

Luc Ferrari ("Visage V", "Étude aux accidents") and François Mâche ("Prélude") are notable for their violence. Both have chosen very concrete materials: a vibrating blade and the creaking of a door for Luc Ferrari, a nail file and a chorus of frogs for François Mâche. For François Mâche, rhythmic violence outclasses other forms of violence. In his "Prélude", the brief rhythms emerging from a background of irregular pulsations achieve terrifying effects. In fact, it is in the field of "dynamic rhythm" that "musique concrète" most overwhelms me. It's fascinating to follow a musique concrète score while listening to it.