Paris-born Michel Meynaud regards song as musical expression in its natural state. It permeates his works and influences his choice of instruments in non-vocal music, such as the deeply resonant cello and double bass heard here respectively in Faust I and Sonatine pour contrebasse. Meynaud combines avant-garde techniques with traditional methods of composition to produce a kind of rhetorical drama, always with a political edge, especially well illustrated in this collection by ¡Viva Emiliano!, his homage to the Mexican revolutionary Emiliano Zapata.