No performance by the Harvard-Radcliffe Orchestra within at least the last three years has drawn such a larger crowd and elicited so enthusiastic a response, as last night's Sanders Theatre concert. Two sobering thoughts, however, were present the concert represented a tribute to the late Malcolm H. Holmes, and it also probably marked the last time that the present conductor, Richard Burgin, will lead the Orchestra.

"Mal" Holmes '28, was for about 25 years intimately connected with the Orchestra in the capacities of concertmaster, adviser, and conductor. The memory of his guidance and devotion is still fresh to hundreds of Orchestra alumni, and this tribute by the present members, most of whom know him as a legend rather than reality, was appropriate and touching.

The departure of Richard Burgin cannot be passed over without bringing to mind his own devotion to the cause of amateur music in this area. Although he has been concertmaster and associate conductor of the Boston Symphony for the past 25 years, his efforts in behalf of community and student groups have been immense. Unfortunately, Harvard has enjoyed his association for only a year, but in that time many students have discovered that the most exacting musical standard may be commensurate with great sympathy and humor.

Yesterday's concert again gave proof that the association of such men has borne fruit. A performance of Schubert's 7th Symphony revealed a woodwind section whose ensemble has reached such a standard that the duets and tries among the first flute, clarinet, and oboe resulted in those delicate tonal effects (unlike any of these instruments individually) which represent one of the high points of orchestral technique. That the string section did not attain a corresponding brilliance and body was not surprising. But they did achieve what is within the reach of the best amateur groups; that alertness which results in playing even the "easy" parts with bite an precision, and an unanimity and assurance in the entrances. Burgin allowed himself virtually no shadings in the tempo within a given section. This was regrettable, though perhaps unavoidable, for Schubert seems longest when he's gotten over most quickly; and the memory of a Mahier 4th performance a few weeks ago proves that Burgin can be very adept in the Viennese style when he wishes.

Two soloists brought the concert to an exciting climax. Jay Powers '56 performed Glazounov's Saxophone Concerto, a work whose chief merit is that it allowed Mr. Powers to prove the amazing finesse with which his instrument can be handled. Such a delicate treatment of the instrument seems to indicate the inherently limited compass of its tonal range. But the novel beauty of the effects produced and Mr. Powers dazzling agility banished any hint of monotony.

The featured soloist was pianist Findlay Cockrell '57, winner of Pierian Sodality's Concerto Contest this year. His interpretation of the Liszt E-Flat Piano Concerto was refreshing in two respects. He brought to it a brashness and fluency of approach with which his technical prowess was fully capable of coping; and he avoided even the slightest hint of those mannerisms whose abuse has made this work seem hackneyed to many.