The Harvard-Radcliffe Orchestra seems to thrive on performing works which are just a bit too difficult; the players combine spirit with effort and in the field of amateur musical performances, such enthusiasm is indispensable. If, as was occasionally the case last Friday evening, there are moments when things get out of hand, these moments are justified by the overall effect of a concert virtually devoid of the apathy and stiffness which had characterized the Orchestra in recent years.

There is always a certain amount of risk involved in choosing a program which is, in many ways, beyond the Orchestra's capabilities. The risk paid off in Brahms's Haydn Variations, which received a superb performance. Slightly less successful was Berlioz' Harold in Italy, which was the victim of mishaps ranging from such acts of God as late entrances and extra-musical noises on stage, to the more controllable blunders of intonation.

Fortunately, Joseph de Pasquale, the principal violist of the Boston Symphony Orchestra, who was guest soloist in the Berlioz, produced a performance which was absorbing enough to take attention away from some of the orchestra's defects, and at the same time add an element of warmth which was absent from the orchestral accompaniment.

Starting from a tone that, in its intensity and glowing beauty was altogether appropriate to the extremely emotional Romanticism of the work, de Pasquale fully realized the poetic quality of the piece, giving the solo line character and identity. Some of his small touches were inspired; especially memorable is his sensitive treatment of the arpeggios at the close of the second movement, which were handled with subtle delicacy and grace.

The orchestra was kept busy much of the time with getting the notes out and trying to stay together, and gave a strong impression that the players were not familiar enough with the work. The brass section supplied a flaring vividness to the big passages, but as the last movement wore on, the effect was repeated with too much similarity, and became wearing.

The Brahms presents technical difficulties comparable to the Berlioz, and musical problems that are much deeper. But the orchestra had solved most of the technical problems, and conductor Attilio Poto showed not only his usual control and precision, but also an interpretation which was neither unusual nor detailed, but was remarkable in its mere presence. Too often, his sole concern has been with "the notes" rather than the more profound problems of musicality, and this performance represented a refreshing change.

Although the entire orchestra displayed an amazing competency and ease throughout the piece, special honors must go to the wind section for their ensemble work and tonal consistency, particularly in the opening theme, which was quite lovely.

The orchestra set a precedent by playing the opening work, Mozart's Symphony No. 26, in a manner which revealed careful preparation and attention to some detail. Usually the openers are shunted off to the first and last rehearsals, and sound it; this is a good tradition to break.

It is important to take note of the unusually receptive response from the audience as an indication that listeners are looking for something other than letter-perfect but perfunctory performances of works that can be handled easily by each last-desk player. This is not to say that the orchestra should schedule an all-Strauss program for its next concert, but that a performance which is enjoyable and interesting to the musicians will give much more pleasure to the audience as well.