Ensemble Baroque Atlantique, conducted byGuillaume Rebinguet Sudre, violin
The EBA is a geometrically variable ensemble involving artists with a real thirst for knowledge and a passion for music and ancient instruments. Guillaume Rebinguet Sudre has now persuaded them to embark upon a truly oceanic adventure by forming this instrumental ensemble.
The EBA is made up of young professionals and accomplished musicians, all united by the same passion for older repertoires, who set out to take an unusual approach to the music of the 17th and 18th centuries, sharing and reinventing the works together and aiming at a wide audience.
The Ensemble Baroque Atlantique is rooted in the “Atlantic regions” and draws on a wonderful geographical and cultural base and opportunities to engage in dialogues other ensembles, thus targeting national and European status.
The EBA is supported by the Aquitaine regional division of the Caisse des Dépôts.
Contact : Anne Reynaud
From left to right : Anaëlle Blanc Verdin, Jean-Luc Ho, Amandine Calige Bisbau, Emmanuelle Faure, Simon Pierre, Mileva Culjic, Alix Boivert, Laure Dupeyrat, Magali Boyer, Benoît Richard, Tania Lio Faucon, Paul Rousseau, Isabelle Duluc, Guillaume Rebinguet Sudre, Bernard Milon, Diana Lee
Pierre Gallon grew up in a home that was overflwing with instruments of all kinds, offering him a limitless playground. When he was ten, he realised that the harpsichord offered the best way of expressing himself. Bibiane Lapointe and Thierry Maeder took him to the Conservatoire National Supérieur de Musique de Paris and its Early Music classes taught by Olivier Baumont and Blandine Rannou. He left in 2010 with two first prizes and the highest honors. Meetings with people such as Blandine Verlet, Elisabeth Joyé and Pierre Hantaï while he was studying were aesthetic epiphanies and deeply affected his approach to the instrument.
Pierre Gallon sees music as a primarily collective adventure – and as a result, even today, he involves himself in his work with well-known ensembles such as Pygmalion (Raphaël Pichon), le Poème Harmonique (Vincent Dumestre), Correspondances (Sébastien Daucé), Inalto (Lambert Colson), Les Musiciens de Saint Julien (François Lazarevitch), and Le Caravansérail (Bertrand Cuiller).
Even so, the adventure takes him along equally captivating paths as Pierre explores the immense solo harpsichord repertoire, ranging from the Renaissance up to our own time.
In 2014, his first solo recording of works published by Pierre Attaingnant was unanimously acclaimed by critics. Pierre is often invited to play recitals at festivals such as La Roque d’Anthéron, the Académie Bach in Arques-la-Bataille, la Folle Journée in Nantes, the Abbaye de l’Epau festival, the Festival Poznan Baroque, at the Venitian Centre for Baroque Music and the Abbaye de Royaumont where he recorded a second CD celebrating Joseph Haydn’s music, released in 2018. His third solo recording was released earlier this year: it imagines the Parisian meeting between Louis Couperin and J.J. Froberger.
Pierre also enjoys working with other keyboard-playing friends ; he performs in a harpsichord duet with Bertrand Cuiller and, as a “band of harpsichords” with Yoann Moulin and Freddy Eichelberger. His regular music partners include violist Lucile Boulanger, lutenist Thomas Dunford, and soprano Alice Foccroulle.
Cristiano Gaudio began his musical studies when he was very young, playing the piano and attending Lia Levi Minzi’s harpsichord class at the Conservatorio di Castelfranco Veneto. After obtaining his piano diploma at the age of eighteen, he decided to spend all his time studying old keyboards. Once he had completed his harpsichord studies with good marks, he continued at the CNSMD in Paris under the direction of Olivier Baumont and Blandine Rannou, and then specialised with Francesco Corti at the Schola Cantorum Basiliensis, where he is currently completing a Master’s.
Meeting artistic figures such as Emilia Fadini, Enrico Baiano, Christophe Rousset and Skip Sempé has been crucial to his development as a musician. He has won prizes at international competitions, such as those in Bruges (2018), Milan (2017), the G. Gambi in Pesaro, A. Bianchi in La Spezia, W. Landowska in Ruvo di Puglia and finally the Claudio Abbado Prize, promoted by MIUR for the best pupils of Italian conservatoires.
His appearances as a soloist include those at the Oude Muziek festival in Utrecht, the early music festival in Urbino, the Baroque in Rio festival in Rio de Janeiro, and he was invited to take part in the Scarlatti 555 project organised by Radio France. He has worked with Les Talens Lyriques - Christophe Rousset, Coro e Orchestra Ghislieri - Giulio Prandi, Le Concert de la Loge - Julien Chauvin, Académie Jaroussky - Philippe Jaroussky, Orchestra Nazionale Barocca - Enrico Onofri; performing at venues such as the Berlin Philharmonic, the Bozar in Brussels, the Laeiszhalle in Hamburg, the Salle Cortot in Paris, the Sala dei Giganti in Padua, and many others. He has recorded for Naïve-Vivaldi Edition and Arcana - Outhere Music.
He is currently a harpsichord teacher at the Conservatorio G. Donizetti in Bergamo.
Claire Gautrot is a violist and cellist and studied the viola de gamba with Paolo Pandolfo at the Schola Cantorum Basiliensis and the Baroque cello in David Simpson’s class at the CRR in Paris.
In recital, her vivid, profound interpretations help to spread the word about a repertoire which is dear to her heart. The research she has undertaken into sound, musical diction and vocal quality gives real meaning to her playing, which she does working closely with the harpsichordists Marouan Mankar-Bennis, Pascal Dubreuil and Gerd Amelung.
As a much sought-after artist, she is often asked to appear with various groups such as Le Poème Harmonique, Le Parlement de Musique, La Comédie Française, Il Nuovo Concerto, La Simphonie du Marais, La Chapelle Rhénane, L’Achéron, Les Épopée and to perform with conductors such as Christophe Rousset, Jordi Saval, Vincent Dumestre, Martin Gester and Emmanuelle Haïm.
L’Encelade will be releasing her Suites Royales recording in January 2021. It is a journey into the Concerts Royaux et Suites de Violes (Royal Viol Concerts and Suites) by François Couperin with Marouan Mankar-Bennis.
More information at www.clairegautrot.com
Clément Geoffroy trained in Nantes with Jocelyne Cuiller before joining the CNSM in Paris with Olivier Baumont and Blandine Rannou. Teachers such as Bertrand Cuiller, Pierre Hantaï, Françoise Lengellé and Frédéric Michel each also left a deep impression upon him. He also trained as a choirmaster with Stéphane Fuget.
He is a founder member of the Escadron Volant de la Reine, with which, amongst other things, he explores forgotten nooks and crannies of Italian vocal and instrumental music. He also works with a number of ensembles such as Les Surprises, Les Cris de Paris, Marguerite Louise, La Rêveuse, Opera Fuoco, Le Concert Spirituel, Pygmalion, Le Poème Harmonique, etc. As a soloist, he devoted his first record to Johann Adam Reincken (L'Encelade, 2018) and his second album Flamboyant Bien-Aimé is devoted to Louis XV’s harpsichordists (CVS, 2023)
Claire Gratton was born in Niort and began studying the cello with Sylvette Gaillard. She later graduated with distinction from the Poitiers and Bordeaux Conservatoires, where she attended Henri Demarquette's class. She also studied with Roland Pidoux, Xavier Gagnepain, Frans Helmerson, Patrick Gabard, Rainer Zipperling and Jaap Ter Linden.
She took an interest in early instruments and their repertoire, and obtained a diploma in Classical and Romantic performance practice with Philippe Herreweghe in Saintes. She was a finalist at the 2005 International Early Music Competition in Bruges and won First Prize at the Lyons Conservatoire in Claire Giardelli's class in 2006. She also studied with Bruno Cocset in Barcelona.
She plays with many ensembles, including Stadivaria, La Simphonie du Marais, L’Ensemble Baroque Nomade, Pulcinella, Le Concert d’Astrée, Le Cercle de l’Harmonie, Pygmalion and has taken part in numerous recordings.
She also enjoys chamber music, and is a founding member of "Il Convito", with her sister Maud Gratton and violinist Stéphanie Paulet.
La Guilde des Mercenaires is an Early Music ensemble specialising in the Renaissance and Baroque repertoire for wind instruments. In the Middle Ages, a “guilde” (guild) referred to a group of people who shared the same profession or other interests and who came together to cooperate and help one another. In this case the group is formed around the cornet player Adrien Mabire and with a hint of humour, the best and bravest musicians of our day, who travel to and fro across France and Europe. La Guilde des Mercenaires are no lone rangers, they all work with other ensembles such as the Le Banquet Céleste conducted by Damien Guillon. The ensemble’s discography already features five recordings, all of which are critically-acclaimed: “Ricercare per Strumenti Insieme” (2016, L’Encelade), “Mottetti e Canzoni Virtuoso” (2019, L’Encelade), “Gloria a Venezia” (2021, CVS), “La Légende Noire” (2021, Lanvellec), and “Frescobaldi, Canzoni Da Sonare 1634” (2022, Lanvellec). “Riposta” will be released in autumn 2023.
Adrien Mabire is from Caen and studied modern trumpet with Stéphane Bellenger, before turning his attention to Early Music and its wind instruments, which he studied with Serge Delmas (cornetto), Jean-François Madeuf (natural trumpet) and Elsa Frank (recorder). For a number of years, he appeared as a guest with the biggest specialist ensembles such as Le Poème Harmonique (Vincent Dumestre), Artaserse (Philippe Jaroussky), Le Concert Spirituel (Hervé Niquet), the Collegium Vocale Gent, the Orchestre des Champs-Élysées (Philippe Herreweghe), The English Baroque Soloists (John Eliot Gardiner), Les Talens Lyriques (Christophe Rousset), Ricercar Consort (Philippe Pierlot), Correspondances (Sébastien Daucé) and Anima Eterna (Jos van Immersel).
Riposta from left to right : Gabriel Rignol, Manon Papasergio, Adrien Mabire, Violaine le Chenadec, Yoann Moulin and Jean-Luc Ho
(missing Jérémie Papasergio)