Beethoven Egmont Overture, Op. 84

Hindemith Violin Concerto

Brahms Symphony No. 4 in E Minor, Op. 98

Last night's concert of the Harvard-Radcliffe Orchestra confirmed the most optimistic predictions of its press releases. The group has improved amazingly during its first year under conductor Russell Stanger, and has become both technically accurate and musically responsive. Stanger has accomplished a great deal; he and the members of his orchestra deserve congratulation.

The string section is the best in the orchestra. They have learned that a fortissimo does not necessarily imply an ugly, strident tone, and it is a lesson they should pass on to the brasses. The latter group occasionally sacrificed everything, including the notes, for volume. This was especially noticeable in the Hindemith Violin Concerto, where the solo part sometimes was overwhelmed by the mass of orchestral noise.

Ruth Posselt, the soloist in the Hindemith, is a magnificent violinist. She adapted herself admirably to the vicissitudes of an amateur orchestra, playing with understanding and beautiful tone, and communicating her enthusiasm for the concerto to the orchestra. The accompaniment was for the most part excellent.

Stanger has done a fine job of orchestra building. His interpretations are as carefully planned out-often to the exact gesture. He did not seem, however, to have many deep personal convictions about the music he played last night. His motions look like a synthesis of Bernstein, Koussevitzky, and Munch. These mannerisms are often annoying in the original, but in the imitation they seem ludicrous. Furthermore, his beat lacks clarity, and as a result, there were many sloppy entrances. But these criticisms do not detract from his spectacular job of orchestra training.

The Harvard-Radcliffe Orchestra has a responsibility to its audience as well as to its members. Performing a warhorse like the Brahms Symphony does not do any great service to an audience that can listen to countless professional performances of it. Surely it would be better policy to program something that is less frequently played and incidentally cannot be so easily compared to the work of professional ensembles. The Orchestra has achieved a level of excellence that does not need to be substantiated by playing one of the "standard works."