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Haydn and Mozart: Lisa Beznosiuk (flute), Orchestra of the Age of Enlightenment, Edward Gardner, Queen Elizabeth Hall, London, 23.4.2009 (J-PJ)

Haydn: Symphony No. 7 in C major, ‘Le Midi’
Symphony No. 64 in A major, ‘Tempora Mutantur’
Symphony No. 90 in C major
Mozart: Flute Concerto No. 2 in D major 


Haydn is still a difficult composer to ‘sell’, even in an anniversary year (2009 marks 200 years since his death). But judging from the large and varied audience at this Orchestra of the Age of Enlightenment (OAE) concert, the ‘radical, genius and entertainer’ (as the OAE dubbed him) has an appreciative and growing following. 

The orchestra under Edward Gardner focused on Haydn’s symphonic output during his long years of service with the Esterházy family and the programme reflected his development of the form, from the smaller, chamber-like symphonies of the 1760s to the fuller-blown orchestral works of the 1780s. Their performance of Haydn’s seventh symphony (nicknamed ‘Le Midi’) emphasised the work’s concertante qualities, with some very strong playing by the two principal violins and cello. There were additional playful interactions between ensemble-style groupings, and Gardner laid bare the symphony’s complex inner workings. It was good to hear the harpsichord continuo – often omitted from recordings and performances – assert its place in the orchestra.

By the time Haydn came to write the Symphony No. 64 (curiously titled ‘Tempora mutantur’ – Time change – by Haydn himself), the composer was in full charge of the Esterházy orchestra and this gave him the opportunity to experiment with, and extend, the symphonic form. Gardner and the OAE dwelt on the constant shifts and mood changes in the work, from the atmospheric, distant tonalities in the second movement, to the thrilling string runs in the fourth. The overall tone was warm and resonant, supported by firmly controlled horn playing.

To complement the Haydn symphonies, Gardner and the OAE chose to include Mozart’s second flute concerto in the programme. This was an odd choice. Of the two concertos Mozart wrote for flute, this one (in D major) is a transcription of his C major oboe concerto, and is therefore less original. The orchestra handled the work less well than the Haydn symphonies. The strings in the opening Allegro sounded scratchy, and they were a little out of tune at the start of the second movement. Lisa Beznosiuk on wooden transverse flute sounded too dry, and she was occasionally drowned out by the orchestra. The fiendishly difficult fingering in the final movement also got the better of her at times.

Beznosiuk seemed much more at ease playing alongside the rest of the orchestra in Haydn’s Symphony No. 90. Written in 1788, this work is scored for larger forces, including trumpets and timpani, and it offered a real showcase for the OAE’s talents. Their playing was confident and alert, with particularly strong solos from the flute, oboe and cello. The OAE delighted in tricking the audience into applause with Haydn’s two false endings in the final movement, and despite some odd-looking arm and fist gestures, Gardner’s direction proved well-judged and controlled.

The concert was recorded by BBC Radio 3 and will be broadcast on 10^th July 2009

John-Pierre Joyce


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