Wolfgang Amadeus Mozart

Oboe Concerto in C major KV 314

Arnold Schönberg

Transfigured Night op. 4

François Leleux
Camerata Sazburg

Mozart composed his Oboe Concerto in C major KV 314 in Salzburg in 1777. It was dedicated to the celebrated oboe virtuoso Giuseppe Ferlendis and combines cantability with technical virtuosity. Mozart, who at this time had already made his name as an opera composer, enhances the final movement with the theme of Blondchen's aria "Welche Wonne, welche Lust" from his Abduction from the Seraglio to an exuberantly cheerful Rondo movement. Arnold Schönberg's Transfigured Night op. 4 dates from an early creative phase and marks the turning point between late Romanticism and Modernism.

(c) Uwe Arens
(c) Uwe Arens

François LeleuxFrançois Leleux’s preeminence as an oboist is internationally recognised and he is regularly invited by the world’s leading orchestras, festivals and concert series in repertoire ranging from baroque to newly commissioned works, both as soloist and as player/director.

In recent seasons Leleux has in parallel developed a significant reputation as conductor and is now regularly in demand on the podium both with and without oboe in hand. During 2014/15 Leleux was Guest Artistic Director of the Norwegian Chamber Orchestra and from 2012-14 he was Artist in Asso-ciation with the Orchestre de chambre de Paris. He has also been invited as guest conductor by Budapest Festival Orchestra and WDR Symphony Orchestra.

A dedicated chamber musician, Leleux regularly performs with sextet Les Vents Français; and his recital partners include harpist Isabelle Moretti, violinist Lisa Batiashvili and pianists Emmanuel Strosser and Eric Le Sage.

The 2015/16 season reflects every aspect of Leleux’s performing including concerto performances with the BBC Scottish and NHK symphony orchestras, Deutsches Symphonie-Orchestre Berlin and the Chamber Orchestra of Europe. As conductor and soloist he returns to Camerata Salzburg, Norwegian Radio Orchestra and Orchestre de chambre de Paris.

Further ahead, projects include a residency with hr-Sinfonieorchester, invitations from Tonkünstler-Orchester Niederösterreich and Bamberger Symphoniker, and tours with Les Vents Français to Salz-burg, Istanbul, Zürich, Brussels and Paris.

Elsewhere in Europe Leleux has appeared at Berlin’s Philharmonie, Wiener Musikverein, Théâtre des Champs-Élysées in Paris and Amsterdam’s Concertgebouw. Further afield he has debuted with the New York Philharmonic and at the Mostly Mozart Festival, New York, as well as with the Sydney and NHK symphony orchestras. In recent years he has performed with such eminent conductors as Pierre Boulez, Mariss Jansons, Sir Colin Davis, Myung-Whun Chung, Thomas Dausgaard, Wolfgang Sawal-lisch, Yannick Nezet-Seguin, Thomas Hengelbrock, Ivan Fischer and Alan Gilbert.

Committed to expanding the oboe’s repertoire, Leleux has had many new works commissioned for him by composers such as Nicolas Bacri, James MacMillan, Thierry Pécou, Gilles Silvestrini, Éric Tanguy, Giya Kancheli and Michael Jarrell. During 2014/15 he – together with his wife Lisa Batiashvili – gave world premiere performances, with NDR Sinfonieorchester Hamburg and the New York Philharmonic, of Thierry Escaich’s Concerto for violin and oboe.

Leleux has released several CDs on Sony Classical, the latest of which – a disc of works by Hummel and Haydn recorded with Münchener Kammerorchester – received award recognition in 2016. Other recordings include works by J.S. Bach with the Chamber Orchestra of Europe, Mozart with Camerata Salzburg, and Strauss’s Oboe Concerto with Swedish Radio Symphony Orchestra under Daniel Harding.

François Leleux is a Professor at the Hochschule für Musik und Theater München.

© Pia Clodi
© Pia Clodi

Camerata Sazburgis one of the leading chamber orchestras worldwide. Invitations to the most prestigious venues from New York to Beijing complement the orchestra’s concert activities in their hometown, Salzburg.
The CAMERATA is one of the core ensembles of the Salzburg Festival and Mozart Week since 1956. The subscription series in the great hall of the International Foundation Mozarteum is a pillar of Salzburg´s musical life and CAMERATA’s Festival “Schubert in Gastein” offers an annual “Schubertiade” in the alpine landscape.

At the center of the repertoire, in addition to the works of Joseph Haydn, Ludwig van Beethoven and Franz Schubert, is of course the work of our genius loci Wolfgang Amadeus Mozart. It is above all the typical “Salzburg Mozart sound” that over the years has made CAMERATA an international ambassador and musical figurehead of the city of Salzburg.
Highlights in recent years have included appearances at the Festival de Pâques in Aix-en-Provence, BBC Proms in London, Enescu Festival in Bucharest, Beijing Music Festival  and Carnegie Hall in New York. The CAMERATA has a close cooperation with the Wiener Konzerthaus and appears regularly in the Tonhalle Zurich, the Alte Oper in Frankfurt, the Kultur- und Kongresszentrum Luzern, the Prinzregententheater Munich as well as the Cologne Philharmonie and the Philharmonie de Paris.

Personalities like Géza Anda, Sándor Végh and Sir Roger Norrington have shaped the CAMERATA sound. Musicians such as Heinz Holliger, Alfred Brendel, Philippe Herreweghe, Franz Welser-Möst, Pinchas Zukerman, Anne-Sophie Mutter, Teodor Currentzis, Matthias Goerne, Fazıl Say, Renaud Capuçon, Yuja Wang and Hélène Grimaud, among others, have been prominent partners of the CAMERATA in past years.

When Bernhard Paumgartner founded the orchestra in 1952, the artistic credo of each individual member was clear: making music on one’s own responsibility within the CAMERATA community. A maxim that the orchestra and its members live to this day. Long time mentors Bernhard Paumgartner and Sándor Végh shaped the world-famous sound of CAMERATA. After Végh’s death, Sir Roger Norrington, as chief conductor, had a lasting influence on the orchestra. Today Sir Roger is the Director Laureate of CAMERATA. His successors as artistic directors were Leonidas Kavakos and the French conductor Louis Langrée. Since 2016, the musicians at CAMERATA have taken artistic direction into their own hands.

Led by their concert master Gregory Ahss as “primus inter pares”, the musicians work together to interpret sound and its subtleties and the music behind the notes. In this way, even in the seventh decade of its existence, CAMERATA maintains a “joy of playing that is contagious” (Neue Zürcher Zeitung). CAMERATA  concertizes regularly with its artistic partners Renaud Capuçon, François Leleux and Fazıl Say and guest conductors such as Andrew Manze, Lionel Bringuier and Ingo Metzmacher to collaborate with them this season.
Recordings of CDs and CDs by well-known labels such as Deutsche Grammophon, DECCA, Sony or Warner Classics – many of which have won important prizes – testify to the excellence and dedication to music of the CAMERATA musicians from more than 20 nations.