Deux souffles enlacés grows from the acoustic and expressive world of the nay: whistles at the ends of phrases, tones suspended between air and sound, breath escaping from performer and instrument, and the unstable threshold at which respiration becomes pitch. Composed in Tunis during the Villa Salammbô residency, the work develops these traces through repetition, listening and guided or free improvisation.

The first part remains closely shaped by breathing and the physical behaviour of the nay. The second opens towards modal colour, bringing selected Arabic maqāmāt into dialogue with Western classical and contemporary scales. Alongside the nay, the Naylute — a hybrid instrument connecting Arabic and Western instrument-making — expands this field through tongue rolls, voice, whistling and unstable low-register resonances.

Improvisation operates at several levels: through recurring loops, transformations of predefined material and freer interaction between the performers. Rather than opposing two musical traditions, the work allows their modes of listening, articulation and ornamentation to meet within a shared field of breath, resonance and changing colour.