updated 8 July 2024
© DR

Pascale Criton

French composer and musicologist born in 1954 in Paris.

Born in Paris in 1954 to parents active in the visual arts, Pascale Criton’s early musical studies included the clarinet and guitar. A composer with wide-ranging interests including free jazz and ethnomusicology, she studied musical composition with Ivan Wyschnegradsky, Gérard Grisey et Jean-Etienne Marie, acoustics at the LAM (Laboratoire d’acoustique musicale) founded by Émile Leipp, and took part in the activities of the Groupe de Recherche sur la Tradition Orale with Claude Laloum (Abidjan, Côte d’Ivoire, 1979).

Formative encounters of the 1970s include work with the Russian emigré microtonal composer Ivan Wyschnegradsky, who introduced Criton to his concepts of “pansonorité” and “continuum sonore.” Study with Gérard Grisey (beginning in 1976 after the premiere of Partiels in Paris) brought Criton into contact with the aesthetics of the “école spectrale” as well as the quartets of Giacinto Scelsi (whose music Grisey had encountered in Rome). Her interest in Wyschnegradsky led to an ongoing interchange with philosopher Gilles Deleuze, who found intriguing echoes between concepts in his own work—“chaos,” “planomène,” “plan d’immanence”—and Wyschnegradsky’s “pansonorité” and “continuum”1.

Criton’s study of the ideas of Deleuze and Wyschnegradsky led to a university course in musicological research: a master’s degree with Daniel Charles at Université Paris VIII (1987), a DEA under the direction of Hugues Dufourt, a doctorate study at Ircam (1993), and a doctorat d’Etat under the direction of François Decarsin. Her research has been disseminated through numerous articles and lectures on musical aesthetics2.

Between 1975 and 1980, Pascale Criton was a member of the Compagnie de Théatre Musical des Ulis, with Michel Puig, Michaël Lonsdale, Catherine Dasté, Edith Scob, and others. She directed various creative workshops: Université Paris XIII (1979-1981), Festival d’Avignon (1977-1978), Conservatoire de Pantin (1981-1982). Her experience with the stage continued as a composer for Productions Transcénic (dance / theater / music / audio-visual), notably the piece Ecrans Noirs, commissioned by the French government and premiered at Ecritures scéniques, Centre Georges-Pompidou, Paris, 1982. She took part in the Darmstadt International Summer Courses in 1980 and 1988, and trained in electroacoustics at CIRM (Centre international de recherche musical, founded in 1968 par Jean-Étienne Marie, 1980-82). Her first microtonal work, Mémoires (1982), was commissioned by CIRM, and written for the 16th-tone piano pioneered by Mexican composer Julián Carrillo. Her training in computer music at Ircam (1986), led to the composition of Thymes (1987–88) for microtonal piano and synthesized sounds.

Since 1980, Criton has devoted herself to primarily to instrumental writing, introducing specifically tuned instruments (piano, microtonal guitars, strings, etc. in 1/4, 1/8, 1/12, 1/16 tones). As a composer attached to CIRM (1982-89), she received various commissions for her work on micro-intervals and later collaborated with Ircam’s Laboratoire d’Acoustique (1991-92). She founded the Association Jean-Etienne Marie (1990) and the Sysmis research group (1993). Consultant composer at Ircam (Département de la Recherche Musicale, 1989-1991), she has also collaborated since 1993 with the Laboratoire Ondes et Acoustique (Ecole Supérieure de Physique Chimie Industrielle, Paris). She also taught at the Ecoles Nationales de Musique in Le Blanc-Mesnil (1978-1995) and Saint Denis (1993-1995).

Criton’s music has been commissioned by governments, cities and ensembles. It has been premiered and performed in France and abroad: Centre Georges-Pompidou, Ircam, MANCA, MIDEM, Intermusica, Ars Electronica, Darmstadt, Institut Ijsbreker, Festival Archipel, Huddersfield Spring, IIIe Pianoforum (Heilbronn), American Festival of Microtonal Music (New York), Radio-France, and many others. Major commissioned works include Territoires imperceptibles (Ensemble 2e2m, 1997), Artefact (commande de l’Etat, Ensemble 2e2m, 2001), Objectiles (Radio France, 2002), Plis pour ensemble instrumental et captations (commande de l’Etat, 2007-2009, révision 2017), Wander Steps (Festival Messiaen au Pays de la Meije, 2018), Circa (GMEA, 2019), and Alter pour voix et orchestre (BBC Scottish Symphony Orchestra & BBC Radio 3, 2022). Recordings include two monographic CDs, Pascale Criton (2003, Ensemble 2e2m, Assaï 222 482) and Infra (2017, Potlatch P317).

1. BAZIN, Paul. (2020). La pansonorité d’Ivan Wyschnegradsky et son héritage, Thèse de doctorat, Université McGill, 2020, p. 199 : https://escholarship.mcgill.ca/concern/theses/8910jz928↩
2. See the page “Ressources” for a complete list of the composer’s writings.↩


© Ircam-Centre Pompidou, 2024

  • Solo (excluding voice)
  • Chamber music
    • Pièces une musique scénique for string trio (1980), 30 mn, Jobert
    • Personnes for three "time players" and string trio (1982-1983), 60 mn, Jobert
    • Ecart voulu for flute, clarinet, violin, cello and piano (1984), 21 mn, Jobert
    • La forme incontournée for two pianos: classical piano and piano tuned in 1/16th of a tone (or synthesiser) (1985), 11 mn, Jobert
    • elec Clines for flute, clarinet, violin, cello, piano and tape (1989), 13 mn 15 s, Jobert
    • elec Clines for bass flute, clarinet, violin, cello, piano and tape (1990), 13 mn, Jobert
    • Bifurcations (version I) for cello, piano and piano in a 1/16th of a tone (1994), 9 mn, Jobert
    • elec Bifurcations (version II) for cello, piano and tape (1994), 9 mn, Jobert
    • elec Entre-deux, l'éternité for celtic harp, guitar and tape (1996), 13 mn 30 s, Jobert
    • Territoires imperceptibles for flute, guitar tuned in 1/16th of a tone and cello (1997), 15 mn, Jobert [program note]
    • Passages for violin, cello and accordion (2000), 11 mn, Jobert
    • Objectiles for quartet of guitars tuned in 1/12th of a tone (2002), 10 mn, Jobert
    • Scordatura for quartet of guitars tuned in 1/12th of a tone (2003), 13 mn, Jobert
    • elec Territoires imperceptibles for flute, guitar tuned in 1/16th of a tone and cello (2003), 15 mn, Jobert
    • Plis pour deux violoncelles (2006), 12 mn, Jobert
    • Parcours for two percussionists (2008), 10 mn, édition du compositeur
    • Process for bass flute, trombone, violin, cello and guitar (2013), 20 mn, édition du compositeur
    • Bothsways for violin and cello tuned in 1/16th of a tone (2014), 10 mn, édition du compositeur
    • Trans for two guitars tuned in 1/12th of a tone (2014), 18 mn, édition du compositeur
    • Wander lines for violin and cello (tuned in 1/16th of a tone) (2014), 20 mn, édition du compositeur
    • Ways for flute and trombone (2014), 7 mn, édition du compositeur
    • Miniature for string quartet (2018), 3 mn, édition du compositeur
    • Soar for violin, cello (tuned in 1/16th of a tone) and ondes Martenot (2018), 13 mn, édition du compositeur
    • Spacings for two ondes Martenot (2018), 16 mn, édition du compositeur
    • Wander Steps for two accordions tuned in a quarter of a tone (2018), 12 mn, édition du compositeur
    • Circa trio for ondes Martenot and two XAMP microtonal accordions (2019)
    • Hold for violin, viola and cello (2019), 10 mn, édition du compositeur
  • Instrumental ensemble music
    • Les cercles d'erres for student orchestra (1990), Jobert
    • stage Les rires de Zarathoustra for orchestra and dance (1991), Jobert
    • Mobiles for guitars and percussions (2000), Jobert
    • Artefact for instrumental ensemble (2001), 11 mn 30 s, Jobert
    • Plis for ensemble (2008), 16 mn, édition du compositeur
    • elec Plis for ensemble (2017, 2007-2009), 18 mn
  • Vocal music and instrument(s)
    • Trois tableaux. Mais que disent-ils ? for string trio and three voices (1981), 30 mn, Jobert
    • L'étendue inclinée for soprano, flute, clarinet, violin, cello and piano tuned in 1/16th of a tone (1985), 22 mn 30 s, Jobert
    • elec L'étendue inclinée II for soprano, flute, clarinet, violin, cello, piano and tape (1986), 14 mn 20 s, Jobert
    • Le passage des heures for soprano, violin, cello and accordion (1998), 11 mn 30 s, Jobert
    • Maanakut for voice and guitar tuned in 1/12th of a tone (2000), 5 mn, Jobert
    • Elle est mignonne for baritone and guitar tuned in 1/12th of a tone (2001), 5 mn 30 s, Jobert
    • Debout les morts ! for baritone and guitar tuned in 1/12th of a tone (2002), 3 mn 30 s, Jobert
    • elec Gaïa for soprano, contrabass clarinet, numeric keyboard, percussion and electronics (2002), 13 mn, Jobert
    • elec Gaïa version with video (2004), 16 mn, Jobert
    • elec Gaïa new version (2004), 16 mn, Jobert
    • stage Elle est mignonne stage version (2005), 50 mn, Jobert
    • On ne vit pas dans un espace neutre et blanc for baritone and prepared piano (2009), 12 mn, édition du compositeur
    • Cet objet for soprano, ondes Martenot and guitar (tuned in 1/12th of a tone) (2015), 2 mn, édition du compositeur
    • Les mots for soprano, ondes Martenot and guitar (tuned in 1/12th of a tone) (2015), 3 mn 20 s, édition du compositeur
    • Alter for orchestra and soprano (2022), 19 mn
  • A cappella vocal music
  • Electronic music / fixed media / mechanical musical instruments
    • elec Foldings for live electronics and video (2008), 15 mn
    • elec Espaces mobiles for laptop ensemble (or interfaces) and images (2012), 5 mn
  • Unspecified instrumentation
  • 2022
    • Alter for orchestra and soprano, 19 mn
  • 2019
    • Circa trio for ondes Martenot and two XAMP microtonal accordions
    • Hold for violin, viola and cello, 10 mn, édition du compositeur
  • 2018
    • Miniature for string quartet, 3 mn, édition du compositeur
    • Soar for violin, cello (tuned in 1/16th of a tone) and ondes Martenot, 13 mn, édition du compositeur
    • Spacings for two ondes Martenot, 16 mn, édition du compositeur
    • Wander Steps for two accordions tuned in a quarter of a tone, 12 mn, édition du compositeur
  • 2017
    • elec Plis for ensemble, 18 mn
  • 2015
    • Cet objet for soprano, ondes Martenot and guitar (tuned in 1/12th of a tone), 2 mn, édition du compositeur
    • Les mots for soprano, ondes Martenot and guitar (tuned in 1/12th of a tone), 3 mn 20 s, édition du compositeur
    • Plis pour ondes for ondes Martenot, 8 mn
    • Tact_minders for ondes Martenot, 14 mn
  • 2014
    • Bothsways for violin and cello tuned in 1/16th of a tone, 10 mn, édition du compositeur
    • Trans for two guitars tuned in 1/12th of a tone, 18 mn, édition du compositeur
    • Wander lines for violin and cello (tuned in 1/16th of a tone), 20 mn, édition du compositeur
    • Ways for flute and trombone, 7 mn, édition du compositeur
  • 2013
    • Histoires sensibles for twenty participants and sonotactiles devices
    • Process for bass flute, trombone, violin, cello and guitar, 20 mn, édition du compositeur
  • 2012
    • Chaoscaccia for cello tuned in 1/16th of a tone, 20 mn 30 s, édition du compositeur
    • elec Espaces mobiles for laptop ensemble (or interfaces) and images, 5 mn
  • 2010
    • Circle process for violin tuned in 1/16th of a tone, 20 mn, édition du compositeur
    • Ecouter Autrement sonotactile devices, 30 mn, édition du compositeur
  • 2009
  • 2008
    • elec Bord à bord for percussion, live recording and visual device, 5 mn
    • elec Foldings for live electronics and video, 15 mn
    • Parcours for two percussionists, 10 mn, édition du compositeur
    • Plis for ensemble, 16 mn, édition du compositeur
    • elec Seuils for percussionist and live recording, 60 mn
  • 2007
    • Positions for trombone, 12 mn, édition du compositeur
  • 2006
  • 2005
  • 2004
  • 2003
    • elec Plis pour guitare for amplified guitar tuned in 1/12th of a tone, 11 mn 30 s, Jobert
    • Scordatura for quartet of guitars tuned in 1/12th of a tone, 13 mn, Jobert
    • elec Territoires imperceptibles for flute, guitar tuned in 1/16th of a tone and cello, 15 mn, Jobert
  • 2002
    • Debout les morts ! for baritone and guitar tuned in 1/12th of a tone, 3 mn 30 s, Jobert
    • elec Gaïa for soprano, contrabass clarinet, numeric keyboard, percussion and electronics, 13 mn, Jobert
    • elec La tentation de voir, 30 mn, Jobert
    • Objectiles for quartet of guitars tuned in 1/12th of a tone, 10 mn, Jobert
  • 2001
    • Artefact for instrumental ensemble, 11 mn 30 s, Jobert
    • Elle est mignonne for baritone and guitar tuned in 1/12th of a tone, 5 mn 30 s, Jobert
  • 2000
    • Maanakut for voice and guitar tuned in 1/12th of a tone, 5 mn, Jobert
    • Mobiles for guitars and percussions, Jobert
    • Passages for violin, cello and accordion, 11 mn, Jobert
  • 1998
  • 1997
  • 1996
  • 1994
  • 1991
  • 1990
    • elec Clines for bass flute, clarinet, violin, cello, piano and tape, 13 mn, Jobert
    • Les cercles d'erres for student orchestra, Jobert
  • 1989
    • elec Clines for flute, clarinet, violin, cello, piano and tape, 13 mn 15 s, Jobert
  • 1988
    • elec ircam Thymes for piano tuned in irregular quarter-tone system and tape, 8 mn, Jobert [program note]
  • 1986
  • 1985
  • 1984
    • Ecart voulu for flute, clarinet, violin, cello and piano, 21 mn, Jobert
  • 1983
    • elec Collisions for zarb and santour percussionist and live electronics, 60 mn, Jobert
    • Personnes for three "time players" and string trio, 60 mn, Jobert
  • 1982
  • 1981
  • 1980

Liens Internet

Bibliographie sélective

  • Jean-Marc CHOUVEL, Pascale CRITON (éd.), Gilles Deleuze, la pensée-musique, Paris, Editions du Centre de Documentation de la Musique Contemporaine, 2015.
  • Pascale CRITON, « Affects et mobilité dans la musique », in Chimères. Revue des schizoanalyses, Année 2000, 39, pp. 21-30, à lire en ligne.
  • Pascale CRITON, « Ars Anima. Pour une sensibilité du réel », in Chimères. Revue des schizoanalyses, Année 1995, 25, pp. 129-154, à lire en ligne.
  • Pascale CRITON, « Aspects théoriques et réalisations de la notion de continuum dans la musique du XXe siècle », DEA sous la direction de Hugues Dufourt.
  • Pascale CRITON, «  Le cerveau transfini », in Chimères. Revue des schizoanalyses, Année 1996, 27, pp. 55-66, à lire en ligne.
  • Pascale CRITON, « Continuum sonore et schèmes de structuration », dans Musique, rationalité, langage. L’harmonie : du monde au matériau, actes de la Journée d’études Philosophie-Musique, Saint-Denis, Université de Paris-VIII, 20 mai 1997, Paris/Montréal, L’Harmattan, 1998.
  • Pascale CRITON, Ivan Wyschnegradsky - Libération du son. Ecrits 1916-1979, Lyon, Symétrie, 2013.
  • Pascale CRITON, « Micropolitiques du son et de l’image », in Chimères. Revue des schizoanalyses, Année 2003, 51, pp. 43-49, à lire en ligne.
  • Pascale CRITON, « Listening otherwise: Playing with sound vibration », International Computer Music Conference Proceedings, vol. 2014, 2014, p. 1805-1808.
  • Pascale Criton : les univers microtempérés, Champigny-sur-Marne, Ensemble 2e2m, 1999.
  • Pascale CRITON, « Sonorous Heterogenesis », in La Deleuziana, n° 11, 2020, p. 236–250, à lire en ligne.
  • Pascale CRITON, « Territoires imperceptibles », in Chimères. Revue des schizoanalyses, Année 1997, 30, pp. 62-68, à lire en ligne.
  • Pascale CRITON, Total chromatique et continuum sonore, une problématique de la pensée musicale du XXe siècle, thèse de doctorat sous la direction de François Decarsin, 2001.
  • Pascale CRITON, « Variables, process et degré zéro », in La Deleuziana, n° 10, 2019, p. 291–309, à lire en ligne.
  • Caroline DELUME, Makis SOLOMOS, « De la fluidité du matériau sonore dans la musique de Pascale Criton », in Revue Descartes n°38, Paris, 2002, p. 40-53, à lire en ligne.
  • Makis SOLOMOS, « Le sensible et l’intelligible. Notes sur Pascale Criton », in A la ligne n°1, Paris, Ensemble 2e2m, 1999, p. 29-42, à lire en ligne.
  • Ivan WYSCHNEGRADSKY, La loi de la pansonorité, préface de Pascale Criton, Genève, Contrechamps, 1996.

Une bibliographie détaillée est à consulter sur le site de la compositrice.

Discographie

  • Pascale CRITON, Bothsways ; Process ; Steppings ; Chaoscaccia, dans « Infra », 1 CD Potlatch, 2017, P317.
  • Pascale CRITON, « Territoires imperceptibles • Artefact • Thymes • La Ritournelle et le Galop • Le Passage des Heures », Ensemble 2e2m, Paul Méfano : direction, 1 CD Assai, 2003, 222482.