Continue without accepting

We respect your privacy

With your consent, we use cookies or similar technologies to store and access personal information such as your visit to this website. You can withdraw your consent or object to processin based on legitimate interest at any time by cliking on "Find out more" or in your privacy policy on this website.

Welcome to the Théâtre des Champs-Elysées website

The Théâtre des Champs-Elysées and its partners set cookies and use non-sensitive information from your device to improve our products and display personalized advertising and content. You can accept or refuse these different operations. To find out more about cookies, the data we use, the processing operations we carry out and the partners with whom we work, you can consult our cookies dedicated page.

    Calendar

    François Leleux | oboe 
    Maximilian Hornung | cello 
    Emmanuel Strosser | piano 

    An inspired trio devoted to Bruch, Debussy, Schumann and Beethoven.

    François Leleux
    François Leleux © Jean-Baptiste Millot
    Maximilian Hornung
    Maximilian Hornung © Marco Borggreve

    Bruch Two trios for oboe, cello and piano op. 83
    Debussy Rhapsodie for saxophone and piano (arrangement by G. Silvestrini for english horn and piano)
    Schumann Four Pièces en forme de canon for oboe, cello and piano Op. 56
    Adagio and Allegro for cello and piano Op. 70
    Three Romances for oboe and piano Op. 94
    Beethoven Trio for oboe, cello and piano Op. 11 « Gassenhauer-Trio » 

     Young audience workshops Comment ça marche ?

    François Leleux makes everything his own! The clarinet part, in two of the 8 Pieces opus 83 composed by the "old" Bruch for his son Max Felix, and again in the "Gassenhauer" Trio, where the young Beethoven varies an aria from L’amor marinaro ossia Il corsaro by Weigl. The score of the saxophone, in the Rhapsody that Debussy completed just before beginning to sketch The Sea. And even one of the keyboardist's parts, in the canons taken from Opus 56 that Schumann wrote in the middle of a study by J.-S. Bach. In the morning programme, only the 3 Romances from The Rhenish were directly intended for the double reed of the oboe. No horn either in the Adagio and Allegro opus 70, but the well-known version for cello and piano planned from the outset.

    COREALISATION Jeanine Roze Production / Théâtre des Champs-Elysées