Florence Baschet

(Born in Paris, 1955, resident in Paris), composer.

She began her musical studies at the Ecole Normale de Musique in Paris and the Santa Cecilia Conservatory in Rome, then musicology, harmony and counterpoint in Paris. She then looks at the new acoustic instrument making (especially in Crystal Baschet). In 1988, she joined the Conservatoire National Supérieur de Musique de Lyon, which allowed her to work on the composition and sound transformations by electroacoustic means. In 1991, she won the National Diploma of Higher Studies of Music. She then followed courses at Centre Acanthes with Luigi Nono and Elliott Carter. In 1992, she joined IRCAM for the course of composition and computer music. She then received numerous commissions and was appointed several times 'composer in residence'. She is also called at IRCAM 'composer search' on the notion of instrumental gesture and finally she received the Nicolo prize from the Academy of Fine Arts at the Institute of France. One of the distinctive elements of her compositional work is her interest in vocal writing, whether a cappella, with all or device. Another guiding thread of her work is the critical integration of a native instrumental vocabulary in her writing. The continuation of her research at IRCAM led her to work in the field of mixed music that combines the soloist electroacoustic device in a particular interactive relationship related to instrumental gesture and seeks to highlight the phenomenon of interpretation depend on the sound changes. Her works are published by Editions Jobert.
Selected works : Alma-Luvia,  for female voice, viola, clarinet, crystal Baschet, electronics,1992 ; Sinopia and Aïponis,  Itinéraire ensemble, 1993 and 1997 ; Femmes, for two female voices (Hebrew and Arabic) and ten instruments, 2001 ; Filastrocca, for Tenor, Basse, electronic and instrumental ensemble, 2002 ; Piranhas, video-opera, for two solo voices, sax quartet, wind quintet, string quintet, piano, percussion, electronics and video device, 2004 ;  BogenLied, the first written for the ‘augmented’ violin piece, 2005 ; StreicherKreis, for string quartet 'augmented' and device, IRCAM commission, 2008 ; AntePrima, for large symphony orchestra, 2010 ; La Muette based on the Chahdortt Djavann eponymous novel, for voice, twelve instruments directed, electronics, 2012.


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