When in 2006 the composer Hèctor Parra Esteve composed Lumières Abyssales-Chroma and Karst-Chroma II, involving the Orchester National d’Ile de France and the Orchester Philharmonique de Liège, the idea of how to highlight the concept of tension in music had a further start: the continuous overlapping of the plots, the irregularity of the rhythms and compositional solutions, the
