The Courier & Advertiser (Fife Edition)
Leleux doubling up on musical roles with SCO
Most famous soloists in the current world of classical music start off at an early age, either through a prodigious talent or the nurturing of a musical family. Or, in some cases, both.
French oboist Francois Leleux could be considered a late starter, not making his professional debut until he was 18, as principal oboe with Paris Opera.
“Nobody played music in our family,” he says, “but my father liked classical music very much.
“I started to play oboe when I was six years old and I was really happy to be able to care for this beautiful instrument, and to hold it in my hands.
“I had discovered the oboe when I was five years old in an early musical education class at the conservatory of Roubaix.
“I was very inspired by soloists like Heinz Holliger, Maurice Bourgue and Pierre Pierlot.”
Saying that his career has gone from strength to strength is somewhat of an understatement, and Francois enjoys a hectic career – both as soloist and conductor – performing with the world’s finest orchestras and ensembles.
It is in this joint role in which he will appear with the Scottish Chamber Orchestra later this month in St Andrews’ Holy Trinity Church, in a programme of music by Mozart, Berlioz and Ravel.
The Mozart works are his Symphony No 25 and arias from The Magic Flute, arranged for oboe by Leleux himself.
“I love to conduct, and I love to play as a soloist... These are complementary jobs which give me inspiration and confidence.
“I feel extremely privileged to be able to do both of them, and to have a chance to do so with such an orchestra as the Scottish Chamber Orchestra.
“There are some arrangements of music from The Magic Flute for two flutes which were written by Mozart himself.
“I have played them many times and I think they are beautiful. Also, many of his operas were arranged for wind octet.
“I’ve always wanted to perform this wonderful music as a soloist. So I simply had to make this arrangement.”
Works by Ravel and Berlioz seem natural inclusions to the programme, as Francois is a keen champion of music from his homeland.
“I think that Berlioz is always an amazing addition to any programme, and his music offers so many different aspects of harmony. And you can hear echoes of his masterpiece the Symphonie Fantastique in Herminie.”
In this seldom heard work, Francois and the SCO will be joined by soprano Carolyn Sampson. Berlioz composed this piece as an entry for the coveted Prix de Rome in 1828. He was awarded second prize.
“Many countries have contributed in a huge way to classical music,” continues Francois.
“But French music has a long tradition which really speaks to my personal sensibilities. I feel at home and extremely confident when performing it.
“I am just a big fan of French music and Mozart.
“I think as a performer you need to be convinced and inspired by the repertoire... You want to give the best of your best.”
Francois’ repertoire covers music from most eras as a soloist, but acknowledges that there’s an important gap when it comes to works for solo oboe.
“In the 19th Century, the oboe had a very important function in the orchestra. Composers like Brahms, Schumann, Wagner and Schubert all gave the oboe very beautiful lines in the orchestral repertoire.
“However, I believe many oboists may not have been brave enough to be soloists and so didn’t inspire these great composers to create concerti.
“Instruments at the time were not well-built, so it would have been very difficult to play them during this period.
“Composers always need inspiration to write beautiful music for any instruments. We soloists need to give this inspiration and demonstrate our instrument’s palette of colours in order to invite them to a world which makes them comfortable and free with their inspiration.
“For me, this is one of the most important goals as a soloist.”