Bermuda Festival -- The English Chamber Orchestra -- City Hall -- February 3 Friday evening at City Hall saw a welcome return of The English Chamber Orchestra with conductor James Judd.

The eighteenth century orchestra was, as was reflected in Friday night's programme, of today's chamber orchestra proportions, rarely consisting of more than 25 players.

In that period, the age of patronage, the composer depended greatly on the enlightenment and generosity of the wealthy and the aristocratic. Some were lucky, Haydn with the Esterhazys, some were not -- Mozart with Archbishop Colloredo.

William Boyce, the eighteenth century English composer, with whose symphony No. 4 opus 2 the English Chamber Orchestra began its programme, was happily freelance. And though basically an organist and choir master, he composed music that was sacred and secular without restriction. However, overshadowed as he was by the greater genius of Handel, his work rarely rises above the mediocre, and his Symphony No. 4, though pleasant and well played, was only an engaging introduction for better things to come.

The main work of the evening was Piano Concerto in Eb major by Mozart. This was, with the very stylish performance of the soloist Steven Hough and the excellent accompaniment of the E.C.O. under James Judd's splendid direction an absolutely magical experience.

There is no doubt that the English Chamber Orchestra, as would be the case with any world class orchestra, must have found the restrictions of the City Hall stage tiresome, and it should be an embarrassment to us as a wealthy country that this is all we have to offer. In this superb concerto, some of the players were hardly visible and the conductor almost not at all.

Fortunately all logistical difficulties were overcome and Mozart's wonderful score, full of lyrical beauty and pathos was positively devoured by a rapt and appreciative audience.

Steven Hough, who has emerged as a major presence on the international concert scene, is a soloist of astounding sensitivity and musicianship. His technique is flawless -- and Mozart's transparent scores are merciless -- his phrasing immaculate, and his recreation of the composer's intent, the aim of all performance, was a joy to hear.

He delighted his audience further with an encore in the shape of Nocturne in Bb major opus 16 No 4 by Paderewski.

After the intermission we moved dramatically in style to the music of Brazilian composer Villa Lobos and his very interesting Giranda de Seta Notas for solo bassoon with soloist Robin O'Neill. This is an unusual work, for the bassoon with its uncompromising lower register does not lend itself well as a solo instrument. However, Villa Lobos, who managed on one occasion to organise a wind band of 700 players, and on another a choir of 40,000 singers (what a nightmare!), was no stranger to challenge, and his composition for solo bassoon and string orchestra with brilliant soloist Robin O'Neill was quite memorable.

The final work of the evening was Haydn's Symphony No 84 in E flat major.

Composed for a concert series in Paris in 1785, this was a relatively late work. Haydn, known as the Father of The Symphony, wrote one hundred and four in the genre. All of his works are very enjoyable, as was No 84 in Friday night's programme. But none are as memorable as Mozart's forty plus or Beethoven's nine -- a lesson in quality rather than quantity. To be fair to Haydn, whose symphonies were certainly more than mere lesson plans, his works are wonderful and exacting pieces for the small orchestra.

The playing of the E.C.O. with dynamic leadership of Stephanie Gonley was here, as it was throughout the evening, always incisive and intrinsically musical -- a joy to hear. As an encore they played Salut d'amour by Elgar.

Hopefully they will return to Bermuda many times.

---- MARJORIE PETTIT