Fanny M

Spurred on by the creation of Alfred Bruneau’s Romance for clarinet quartet and by the creation of the Malinconia program, the Quartet continues its quest for history and roots. By drawing on the classical scores of the string quartet, the Quatuor Anches Hantées continues its immersion in the great repertoire of chamber music and explores the possibilities of its formation.

Visual : Pierre Soulages, Peinture 162 x 724 cm, novembre 1996, Huile sur toile

Appartient au peintre, en dépôt au Musée Soulages, Rodez

© Paris, Adagp 2023

Ludwig van Beethoven

Quatuor n°1 en Fa Majeur opus 18 n°1

Richard Dubugnon

Letter to the Immortal Beloved
world premiere 2022

Fanny Mendelssohn

String Quartet in E major
solo quartet version on tour

Strauss & co.

3 dancers – classical, hip hop and contemporary – combine, confront and intertwine their movements with 4 musicians. The result is a choreography in which the spirit of the waltz lurks, and energy flows between arts and aesthetics, sounds and movements. In this flamboyant ballet, the 7 artists tell us how the waltz and polka, originally popular, spread to all the courts of Europe and beyond, propelling Strauss to superstar status. They ask the audience about the permeability of genres, and explore how the dance moves from the street to the concert hall.

We know his waltzes, his polkas, his operettas, but what did Johann Strauss leave us of his creativity? What did he pass on? Initiated? Many of his contemporaries and successors were fascinated by this peerless melodist, admired him and drew inspiration from him: Brahms, Verdi, Richard Strauss, but also Webern and Berg. Let’s try to link them together, interpreting Lehàr, Helmessberger and Lumbye, and let the Strauss imprint emerge from all these aesthetics. A new work by Charles-David Wajnberg will open gaps in the concert’s timeline, bringing the clarinet’s now-electronic sonorities to the melodic writing of the late 19th century.

On tour

Opéra Sans Diva

Absent is always wrong, the adage is well known. What is left of opera without its singers who carry it to the end of their voices? Everything! Because it is also the role of the orchestra to carry the music of the composer.

Whether the audience applauds or boos their performance, they often pay little attention to the libretto or even to the music.

We propose to repair this injustice and to rehabilitate all these beautiful and unheard melodies…

Example of a program:

Johann Strauss

Die Fledermaus, Overture

Antonin Dvořák

Rusalka, Song to the Moon

Ruggero Leoncavallo

Pagliacci, Intermezzo

Nikolaï Rimsky Korsakov

Snegourotchka, Dance of the Clowns

Giuseppe Verdi

La Traviata, Acte III, Prelude

Jules Massenet

Don César de Bazan, Entr’acte Sévillana

Amilcare Ponchielli

La Gioconda, Prelude
La Gioconda, Dance of the Hours

Károly Goldmark

Die Königin von Saba, Magische Töne

Camille Saint-Saëns

Samson et Dalila, Bacchanale

Giacomo Puccini

Suor Angelica, Intermezzo

Dmitri Shostakovich

Cheryomushki, Polka and Galop
On tour


With Malinconia, the quartet imagined that the great string quartet composers had modern clarinets. Would Mozart have continued to write for clarinet ensembles after his Adagio in B-flat major k411 for two clarinets and three basset horns? How would Beethoven have taken up clarinets if the bass clarinet had already existed?


Wolfgang Amadeus Mozart

Quartet n°15 KV. 421(417b) in D minor op. 10 n°2

Philippe Hersant

Huit Esquisses, dedicated to QAH

Ludwig van Beethoven

String quartet in B flat major, opus 18 n°6

After many years on stage, Ma Mère L'Oye - Voyage au Pays des Contes is about to give way to a new family show for all audiences. The Quartet's musicians are hard at work on it... !

All QAH concerts can be made accessible to the deaf and hard of hearing, with adapted vibratory systems.

Contact us for more information