Unlike his previous musical works on poets such as Verlaine and Rimbaud ( 1964 ), Ferr?chose here bareness in the arrangements ( piano, whistling, claps of hands, and nothing more but the voice declaiming, whispering or chanting ) to provide the illusion of a half-improvised music and keep the poem's " original spouting strength ", and most of all express his own conception of oral poetry by letting himself being only guided by musicality of rimbadian prose itself.
