A disciple of Wim Hooggewerf, Roland Dyens, and Pablo Márquez (whose assistant he was at the Strasbourg Conservatory), Philippe Mouratoglou had all the skills, and the legitimacy, to become a conventional classical guitarist. But that wasn't accounting for an open-mindedness and wide-ranging curiosity that led him, alone or with various small ensembles, to explore the most diverse genres and to play steel-string, six-string, twelve-string, and baritone guitars.

At the same time, in 2012 Philippe Mouratoglou founded the label Vision Fugitive together with clarinetist Jean-Marc Foltz and graphic designer Philippe Ghielmetti, on which he has pursued a string of original projects: after an exploration of bluesman Robert Johnson's repertoire (Steady Rollin' Man, 2012), a guitar-double bass-drums trio with Bruno Chevillon and Ramón López (Univers-solitude, 2018; Ricercare, 2021; Nautiles, 2025), and two particularly adventurous recitals in which Francesco da Milano converses with Benjamin Britten and with his own improvisations (Exercices d'évasion, 2013; D'autres vallées, 2016), Philippe Mouratoglou also rose masterfully to the challenge of breathing new life into the most well-trodden repertoire of romantic guitar, that of Fernando Sor (2019).

After La Bellezza, a journey through five centuries of lute and guitar music that drew critical acclaim, his new odyssey leads him through the most refined byways of a modern repertoire, from the twentieth century to today. Contemporaries who have become classics (Manuel de Falla, Frank Martin, Leo Brouwer, Toru Takemitsu) sit alongside Philippe Mouratoglou's own improvisations — so many "explosantes-fixes" (fixed-explosions) sketched out under the benevolent sign of a tarot card dear to the surrealist André Breton.