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This is the second version of Achernar, initially written for piano and large orchestra, in which the spatial and dramatic idea present in the orchestra is re-thought with the use of live electronics.

So, through various forms of interventions on sound in real time, such as the creation of different delays, sound rotations, envelopes, pitch and timbre changes, etc., the acoustic output produced by the performer at the piano is shaped to the poetic and expressive need to create an enveloping sound in which the spatialized sound on several speakers can embrace the listener, leading them on a sort of multisensory sound journey at the limit of perception.