Fascinated by the interplay of echoes from one past to another, Vincent Dumestre and Stéphanie d’Oustrac found an affinity in the project Mon Amant de Saint-Jean , their very first collaboration, and aimed to make it a unique musical adventure: a recital in which the atmosphere of the chansons of the Années Folles infuses early music with its sweet madness. In 1904, the great cabaret singer Yvette Guilbert was invited to the home of the Casadesus family, the founders of the Société des Instruments Anciens (Early instrument society): the Baroque fraternised with the café-concert. Around the same time, in the revue Paris qui chante, an aria by Scarlatti rubbed shoulders with the coarse language of Aristide Bruant and Paulin, while Gaston Dumestre, a singer at the cabaret Le Chat Noir (and one of Vincent’s ancestors!), sang chansons réalistes while accompanying himself on the theorbo presented to him by Oscar II of Sweden: ‘It is in language that we must seek the common driving force. These cabaret singers relished a very special flavour, a vigour, a raciness in the words of the Baroque era’, concludes Vincent Dumestre.

Paru en juin 2022 sous le label Odradek records.

À propos de Mikel Urquiza, l’expression «jouer de la musique» n’est pas usurpée. Assuré- ment, il y a bel et bien là quelque chose d’éminemment ludique. De fait, c’est aux sources du jeu que le compositeur puise son inspiration, c’est dans la situation de jeu qu’il crée un espace neuf permettant à son imagination de s’épanouir librement dans toute sa singularité. Pleine de verve et de fraîcheur, la musique de Mikel Urquiza flirte en délicatesse avec le burlesque, triture des ritournelles, s’amuse des clichés puis brouille soudainement les pistes pour mieux ressurgir là où on ne l’attend pas…

Monographie Bernard Cavanna

Alphonse Cemin
Matteo Cesari
Iris Zerdoud
Quentin Dubreuil
Gaspar Jose
Vincent Lhermet
Noemi Schindler
Clotilde Lacroix

Released on July 2, 2021 under Harmonia Mundi.



After a first CD devoted to early English music, Les inAttendus tackle Bach’s magnum opus: The Art of Fugue. And it is as poets of sound that they do so. Through the very particular colors and the “unexpected” combination of accordion, bass viol and baroque violin, they emphasize the masterly beauty and depth of this score.

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On the occasion of UNESCO’s International Year of Indigenous Languages in 2019.

Works by Georgina Derbez, Itzam Zapata, Ana Lara, Javier Torres Maldonado, Alejandro Romero, Jorge Torres Saenz, Victor Ibarra.



500 years after the conquest of Mexico by Hernán Cortes in 1519, pre-Columbian civilizations still appear very present in today’s Mexico and in the imagination of its contemporary composers.
Cantares Mexicanos is a collection of poems in the Náhuatl language transcribed by the Spaniards in the Latin alphabet in the sixteenth century. These texts, formerly accompanied by drums, give us a glimpse of the complex thought of the Aztecs.
The program makes us hear one of these “songs”, in Nahuatl and in its translation into Spanish, written for the sovereign warrior and poet of Texcoco, Nezahualcoyotl. This poem in five parts makes us travel, at the moment of the Conquest, into the Mexico of the Aztecs which anticipates its future loss and that of the Spaniards, associating lyricism and violence, two characteristics that are found in contemporary mexican creation as well as in the sonic identity of the accordion.

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John Bull, John Dowland, Michael East, Orlando Gibbons, Tobias Hume,
Philippe Hersant (premiere), Thierry Tidrow (premiere)



Unexpected? The pairing of viola da gamba and accordion is certainly that! But perhaps even more surprising is how well the singing strings of the veteran instrument harmonize with the subtly vibrating reeds of the centuries-younger newcomer.
Also unexpected is this cross-generational meeting of two musicians (what are the odds?) who found each other exploring the ‘poetical humours’ of early-Seventeenth-century England.
Recently reunited in the recording studio after several seasons of rapturously received recitals, with this well-timed album the duo Les inAttendus makes its first entry into the harmonia mundi catalogue.

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BEDROSSIAN / DURIEUX / GAXIE / KRAWCZYK / LAUBA / LAZKANO / LENOT / MANTOVANI / MATALON / PESSON / ROCHE / SRNKA / SUZUKI



Original creations — Commissioned by the Printemps des Arts de Monte-Carlo and SO.GE.DA.
In collaboration with the Conservatoire national supérieur de musique et de danse de Paris.

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Tomas Bordalejo, En Rappel (2014)
Philippe Hersant, Tarentelle (2014)
Martin Iddon, D’un sang qu’elle poursuit… (2014)
Florent Motsch, Rappels (2014)
Mikel Urquiza, Esquisses d’échecs : ouverture française (2014)
&
Jean-Philippe Rameau, La Livri, L’Agaçante, Le Rappel des oiseaux, La Villageoise, Gigues en rondeau I & II, Musette en rondeau, Tambourin, Les Sauvages, L’Egyptienne, L’Enharmonique



Label Klarthe – distributed by Harmonia Mundi
With the support of the Fondation d’entreprise Banque Populaire, the Fonds pour la création musicale (FCM) and Musique française d’aujourd’hui (MFA)

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Bruno Mantovani, 8’20” chrono (2007)
Georg Friedrich Haas, Sayaka (2006)
Jouni Kaipainen, Gena op. 31 (1987)
Gérard Pesson, Peigner le vif (2007)
Annette Schlünz, Journal n° 2 (Schneeland) (2006-2007)
Philippe Leroux, De l’épaisseur (1998)

Collection Jeunes Solistes, recorded at the Paris Conservatoire with the support of the Meyer Foundation.

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Béatrice Berne and Vincent Lhermet mix popular and scholarly types of music. Winds from Ireland was designed as an invitation to discover the Irish musical heritage, a testimony of the daily life and activity of this nation, together with echoes of its Scottish and English neighbours. This programm stands at the crossroads of varied musical influences and orientations, either classical contemporary or traditional, without losing the purity and originality that are typical of each of these aesthetic choices. These Winds tell tales of legends or stories spread by anonymous musicians or famous composers, all in love with the magnificent themes created by Celtic culture.

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