The sixth and final concert of this year’s Georgian Concert Society showcased lesser-known works by two of the most prominent composers of the Classical period. Mozart and Haydn had great flexibility as composers and the chamber works showcased in this concert, although lacking the fame and presence of larger symphonies and quartets, are still well crafted. The characteristic wit of Haydn and charming melodies of Mozart are still present, yet it must be remembered that chamber music of this time was rarely listened to in the way we experience it today. Small ensemble playing would have been a social activity for both players and audience. This is reflected in the compositional styles of the works, which are more like conversational exchanges than the pious and densely contrapuntal textures of the Baroque period. As art reflects life, this compositional shift mirrors the social, philosophical and artistic changes of the Enlightenment: art became a driving force for the self-improvement of the individual with emphasis upon rational thinking rather than divine guidance or intervention.

Led by Ashley Solomon, Florilegium is one of the UK’s leading ensembles in period performance. Solomon led on a replica flute based on an example from 1780, alongside Bojan Čičić on violin, Elizabeth Gex on viola and cello played by Jennifer Morsches. Playing quartets with flute, string trios and a duo, the ensemble shrank and expanded throughout the programme. Throughout, they maintained a well-projected tone with politely rounded phrasing, suiting the refined and dignified character of Classical period writing. Solomon was a sensitive player, choosing not to dominate the ensemble’s tone, but instead providing a lightness of colour with a gentle touch and manner of playing. Haydn and Mozart are renowned for forming complex works from simplistic themes. Melodic shapes demand clarity and sensitivity with a light touch and dynamic weight. Even in denser textures or moments of emotional intensity Florilegium’s jovial playing felt organic and unforced. This only emphasised their clear sense of ensemble playing and musical appreciation of each other’s interpretive ideas.

Opening tonight were Haydn’s String Trio in G major, H.XVI:40, and Duo in F major, H.VI:1. Both of these were rarities for Haydn – his trios scored for two violins and cello are more common. In addition, duos which are unsupported by a keyboard instrument present compositional challenges. They demand a greater technical skill of both instrumentalists and an extensive expressive palate in order to make a convincing texture. In tonight’s programme the unusual adagio second movement of the F major duo was particularly of interest as it was reminiscent of an older style, almost resembling pastiche Bach. Long, sustained melodic lines over a moving bass line still allowed for a characteristically Haydn twist.

Much of tonight’s programme featured flute as the principal instrument, including Haydn’s London Trio No. 2 in G major and two of Mozart’s flute quartets, in D major and C major. It is widely believed that Mozart did not favour the instrument much, but it is more likely that his dislike grew from a particularly bad business deal with the wealthy, amateur player, Ferdinand De Jean. Mozart may have felt his creativity stifled by the demanding of short and simple compositions lying within his patron’s limited technical skill. Although still characteristically Mozartean and bearing hallmarks of his creative depth, the works do not seem to radiate the same emotional feeling as other chamber combinations of wind and strings, such as the Clarinet Quintet, K.581, or the Oboe Quartet, K.370. Nonetheless, the players tonight brought harmonic drama and rhythmic propulsion to their performance. Curiously, the adagio of the Quartet in D major drew heavily upon pizzicato as a feature of the accompaniment. This is a particularly rare technique for Mozart to employ in his chamber writing, even in his more famous string works.

The Arrangement of Arias from Mozart’s The Magic Flute might be described as a diverting comicality. An anonymous flautist and contemporary of Mozart’s arranged the work, perhaps looking to extend their repertoire using familiar melodies an audience may have recognised. Indeed this practice of setting popular melodies was common and composers – including Mozart – would pay tribute to a colleague’s good melody writing by devising a set of variations upon a theme. Naturally, the flute is suppler in range and agility than the human voice, and this arrangement of familiar tunes from Mozart’s opera is ornamented and elaborated, whilst maintaining the clarity and shape of the original.

The closing theme and variation movement from the Flute Quartet in C major provided an excellent opportunity for each instrumentalist to lead the ensemble as thematic strands weaved throughout the ensemble.

Florilegium performed on 12th March 2016. They will be performing at the Beverley and East Riding Early Music Festival in May and at venues in London and elsewhere throughout June.