Residence from 23 to 29 March 2026

Composition of Pascale Criton for bassoon and alto saxophone With Dafne Vicente-Sandoval and Bertrand Gauguet

This first stage of work will lay the foundations of a 20/25 minute piece, clarify the types of possible interactions between the two wind instruments and also consider certain game protocols allowing each time to invent a journey within a spatial representation of music.
Since the 1980s, Pascale Criton has been interested in sounds between notes. His microtonal music won great freedom by his approach to score and performance.

Pascale Criton (born 1954 in Paris) is a composer specializing in micro-interval exploration. She studied with Ivan Wyschnegradsky, Gérard Grisey and took part in Darmstadt courses as well as training at CIRM and IRCAM. At the same time, she is interested in ethnomusicology in Ivory Coast. She leads musical creation workshops and also works in musical theatre with the Compagnie des Ulis and Transcenic. Since 1980, it has developed innovative writing based on scordaturas and digital synthesis. Influenced by Gilles Deleuze, she continues a university research on the sound continuum. His work, supported by state orders, focuses on musical aesthetics and new luteries.

Dafne Vicente-Sandoval (born 1979 in Paris) is a bassoonist who explores sound through the interpretation of contemporary music pieces and electro-acoustic performances.
His work highlights the complexity of the bassoon's acoustic properties and often fits into the tenuous line between instrumental instability and interpreter control. His instrumental research was based on collaborations with composers.rice.s such as Élyne Radigue, Jakob Ullmann, Alvin Lucier, Peter Ablinger and Phill Niblock, leading to the creation of an important body of pieces for bassoon alone. In parallel, Dafne has been developing a practice around the contingent musicality of the Larsen for about ten years.
A graduate of the CNSM in Paris and the Musikhochschule in Basel, Dafne presented her work at international contemporary music festivals (Donaueschinger Musiktage; Ultima, Oslo; Tectonics, Glasgow; Archipelago, Geneva) than in contexts more related to visual arts (Documenta 14, Athens; Bourse du Commerce, Fondation Cartier, Paris; Pace Gallery, Paula Cooper Gallery, New York). In 2018 and 2021, she was in charge of the bassoon class at Darmstädter Ferienkurse. His writings were published by the magazines Darmstädter Beiträge, Revue et Corrigee, Blank Forms magazine and Sound American. His latest recordings can be found on Portraits GRM, Edition RZ, XI Records and Touch labels.

Bertrand Gauguet plays the alto and baritone saxophones in solo or collective contexts of improvisation of new music. His interests explore the play of frequencies, the multiphony, the microtonality, the sounds located at the threshold of the audibility, the breath or, in another direction, the amplification. He has also collaborated in recent years with composers(ices) such as Éliane Radigue (several OCCAMS) or Kasper T. Toeplitz (Erosions programmed for saxophones and electronic device in real time).
He also composes electronic music and has produced many original pieces and soundtracks for dance, cinema and radio. He also makes field recordings for radio plays, films or live entertainment devices. He was the winner of the Kujoyama villa in Kyôto in 2011. His discography to date has about 30 recordings.
Collaborations with Sophie Agnel, Tetuzi Akiyama, AMORCE (with Tony Buck, Richard Comte and Jérôme Noetinger), Pascal Battus, Olivier Benoit, Cyprien Busolini, Xavier Charles, Isabelle Duthoit, Ensemble Un, Andy Guhl, Franz Hautzinger, Robin Hayward, Insub Meta Orchestra, Eric La Casa, Didier Lasserre, Thomas Lehn, Lê Quan Ninh, Toshimaru Nakamura, Eddie Prevost, Carol Robinson, Tetsu Saitoh, John Tilbury.