“There’s a myth surrounding the role of the solo oboe, because of its role in the orchestra’s tuning and because it occupies a very central position, right in front of the conductor,” explains Hélène Devilleneuve, a “super soloist” as her contract indicates, but she prefers “solo oboe.” She sees her role as a pivot, a point of equilibrium with the solo violin, horn, trumpets and trombones, timpani, and double bass, with the aim of maintaining cohesion between these different sections. “The solo violin, on the other hand, is a key interlocutor for the conductor and can exert a certain authority over the orchestra. Musically, the solo oboe shares the same role as the solo flute, solo clarinet, and solo bassoon, as in a string quartet. Each soloist is musically responsible for their section and discusses, among other things, how to approach phrasing or dynamics, articulations, or any other points necessary for its cohesion.” »

Hélène Devilleneuve brilliantly takes on the ultra-virtuosic part entrusted to her (what ease in the multiphonic sounds!), and the two oboists from the small Mozartian orchestra who form a trio with her contribute to the aura of the soloist's timbre.

It is Hélène Devilleneuve, soloist of the Philharmonic Orchestra, who takes center stage alongside a Mozartian-style orchestra (winds in pairs) in a work that particularly challenges the balance of forces, given the oboe's limited volume. Hurel's brilliant idea was to call upon the two oboists of the orchestra who, standing at the beginning of the concerto, play alongside the soloist in a near-doubled fashion, creating an amplifying effect.

We will remember the beautiful solo performances of Hélène Devilleneuve on the oboe and the magnificent sound of the alto saxophone of Claude Delangle who, faithful to Debussy, offers as an encore a transcription of Syrinx for soprano saxophone.

Alongside her extensive repertoire of classical pieces, she is dedicated to performing contemporary French music, including works by Grisey, Hugues Dufour, and forgotten composers. In April 2016, she recorded this magnificent album, once again showcasing the beauty of her instrument, enhanced by a timbre of rare purity, subtle virtuosity, and a warm sound, all radiating a sense of conviviality.

Hélène Devilleneuve's supple, amber-toned sound captivated the listener throughout, serving a writing style of expressive vigor and demanding dramaturgical direction, magnificently supported and relayed by the string quintet.