The Orchestra of the Age of Enlightenment takes a broad view of the musical territory open to period instrument ensembles, and why not indeed? However, an evening of all late 19th Romantic fare? I was intrigued. This was the last of three concerts of the same programme in a week: Basingstoke, New York and then London - not an obvious touring circuit! The concert is also the last of their 'Flying the Flag' series, curated by principal flautist Lisa Beznosiuk and principal double bass Chi-chi Nwanoku, and this concert, 'Best of Both', looked at the composer's reflection of their own and other national characteristics in their music.
They began with the Overture from Smetana's The Bartered Bride. This is clearly core territory for Hungarian conductor Ádám Fischer, who conducted without a score (as he did with the Dvořák later). After the opening flourish, the second violins nailed their terrifyingly exposed passage of pianissimo semiquavers, and the subsequent string entries had real bite and energy. By this point, Fischer was almost dancing as he carried the players through this joyful curtain raiser. Once or twice, the dynamics needed a little control, as the softer period flutes struggled to be heard over the strings, but the OAE showed that their pared back sound in no way lacked energy and spirit.
Viktoria Mullova then joined the OAE on stage for Brahms' Violin Concerto. This wasn't the most accurate performance of the Brahms I have heard, with some slight issues in detail from both soloist and orchestra, but nevertheless the approach of performing on earlier instruments brought some interesting and unexpected insights. Unfortunately, Mullova never quite looked entirely at ease, although perhaps the transatlantic hopping of the preceding few days had taken its toll. Also, I have no problem per se with soloists having music on stage as long as it doesn't get in the way of communication. Unfortunately, once or twice, Mullova did appear rather focused on the score. The first movement was reserved, although there was sensitive dynamic contrasting from Mullova. Occasional tentativeness of attack meant that some of the double stopping was not 100% secure, and the cadenza felt strangely understated.
In the second movement, the wind and horns' fragility gave proceedings an edge of tension, and this was matched by shaky vibrato from Mullova. However, the pianissimo close to the movement was beautifully controlled. The finale was the strongest movement here, and it felt like soloist and players alike finally relaxed a little, enjoying the dance. Here, Fischer's inflection of the slightest lift before the final downbeat of the theme added appropriate spice, and Mullova played with great panache.