Flutist Pahud Adds Dazzle to Haydn Program

The enterprising Spectrum series at USC produced another winning import this week in presenting the local debut of the Ensemble Haydn-Berlin, now on its first U.S. tour.

The group of 14 high-achieving players from Berlin was formed in that city nine years ago with the purpose of championing the early symphonic works of Franz Joseph Haydn. The conductorless ensemble began its Wednesday night performance in Bovard Auditorium with that master’s incandescent Symphony No. 22, played with warm and loose-limbed authority.

But even more ear-opening delights awaited.

Emmanuel Pahud, the virtuosic but low-key Swiss flutist who last month stepped down as principal flute of the Berlin Philharmonic, is guest soloist on this tour, and the ensemble wove his broad musical gifts cannily into this program, a wondrous mix of the familiar and less-known.

Pahud played first with ensemble founder Hansjorg Schellenberger, as co-soloists in Honegger’s masterpiece, the Concerto da Camera for flute and English horn. The flutist then offered at mid-program a surprising solo group, and followed that with the Flute Concerto by Michael Haydn. After the program proper, he appeared as obbligato soloist in an orchestral minuet by F.J. Haydn.

The 30-year-old’s gifts and accomplishments cannot be overstated. His technique is prodigious, kaleidoscopic, effortless; at any speed, his tone charms. His musicality envelops the listener like a loose but warming shawl, and no distracting ego stands in the way of his easy communicativeness.

With Schellenberger, he entirely enchanted his audience with the pastoral lyricism of Honegger’s seductive music. In the Michael Haydn concerto, he flew through thickets of notes unfazed by their challenges, and made songful every utterance.

After intermission, Pahud was scheduled to play alone, and did so first, in a brief Little Air by Heinz Holliger. Then he introduced two distinguished guests, soloists from the Southern California jazz establishment, flutist James Newton and didgeridoo player Pedro Eustache, for a joyful improvisation.

The orchestra played the Symphony No. 22 and, to close, Mozart’s Symphony No. 28 in C, with beauteous sound, amazing resonance--being always in tune accounts for that--effortless balances and irresistible exuberance.