in progress



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Composer born in Paris, Florence Baschet began her musical studies at the Ecole Normale de Musique de Paris and at the Santa Cecilia Conservatory in Rome, then in musicology, harmony and counterpoint in Paris. She then focuses on the new acoustic instrumental lutherie (especially at the Cristal Baschet) instrument she explores in several directions as Carnatic Music of south India, jazz music and the possibilities of sound transformations by electroacoustic devices.
In 1988, she enters the Conservatoire National Supérieur de Musique and joins Philippe Manoury’s composition and electro acoustic class. It will be the basis for her work of composing and processing sounds by electro acoustic systems. In 1991, her studies culminate in a unanimously awarded first prize, including votes by André Boucourechliev and Gilbert Amy. She then follows advanced courses with Luigi Nono and Eliot Carter. In 1992, after attending the composition and computer music Cursus at Ircam, she writes Alma-Luvia.

She then obtains several commissions, in particular from Ircam Spira Manes, from the Ministry of Culture Sinopia and Aïponis for ensemble L’Itinéraire whose artistic director and composer Michaël Levinas actively supports her work. Then she writes Femmes for Radio France, Filastrocca for the Manca festival, Bobok for ensemble 2e2m and GRM, and for the Why Note festival BogenLied, the first piece written for the augmented violin.
In 2003, she is named Composer in Residence in Annecy for two years where she wrote The Electrics and the video-opera Piranhas. In 2004, she is a finalist for the Prince Pierre de Monaco’s composition Price. The instrumental formation L’Itinéraire elects her to their Artistic Commission and names her Resident Composer in Dijon for 2005. Then she is in residence at the GRAME in Lyon, for which she writes Beréchit.
In 2007, Ircam names her Research Composer for working on the notion of instrumental gesture ; she compose StreicherKreis commissioned by IRCAM for 'augmented' string quartet and electroacoustic live, created in 2008 by the Danel Quartet. which will be followed by Cinq études pour quatuor à cordes in 2009 created by the Manfred quartet.

In 2010, the Cottbus Philharmonic Orchestra directed by Evan Christ creates Anteprima for large symphony orchestra. In 2011, she composed La Muette based on the Chahdortt Djavann eponymous novel , for voice, ensemble and electroacoustic, created at IRCAM in February 2012. She then receives from the Académie des Beaux Arts in the Institut de France, Nicolo Price.

One of the distinctive elements of her compositional work is her interest in vocal writing, a capella, with instrumentalists or with electroacoustic device. Another guiding principle 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 unites instrumentalist and electroacoustic device in a special interactive relationship related to instrumental gesture.

Her compositions are regularly interpreted by instrumental formations such as L’Itinéraire, Court-Circuit, 2e2m and Intercontemporain and TM+ structures. Jobert Editions in Paris edits her work.