Both Haydn’s symphony No. 103 (composed in London in 1795) and Mozart’s Symphony No. 39 (1788) show the composers in adventurous mode, Haydn opening proceedings with first an arresting drumroll and then an eerily sombre theme in the lowest instruments of the orchestra. Mozart’s late symphony in E-flat explores unlikely tonalities in its opening movement, embracing a soundworld characterised by clarinets (without the usual oboes), but ends with a brilliantly witty finale.

Between the two symphonies, Mozart’s exquisite Sinfonia concertante (1779-80) - perhaps the greatest-ever hybrid of the symphony and concerto forms - gives solo roles to the longstanding leader of the English Baroque Soloists, Kati Debretzeni, and the principal viola Fanny Paccoud. For our London performance at St Martin-in-the-Fields, award-winning violinist Isabelle Faust joins the English Baroque Soloists and John Eliot Gardiner for Mozart’s first and third violin concertos.

Programme (US, Saffron Walden and Bologna performances)
Haydn Symphony No. 103 in E-flat major ‘Drumroll’
Mozart Sinfonia concertante K. 364
Mozart Symphony No. 39 in E-flat major K. 543

Programme (London performance)
Haydn Symphony No. 103 in E-flat major ‘Drumroll’
Mozart Violin Concerto No. 3 in G Major, K. 216
Mozart Violin Concerto No. 1 in B-flat Major, K. 207
Mozart Symphony No. 39 in E-flat major, K. 543