The presence of three of Beethoven's greatest works on one program is recommendation enough for a concert. When they are performed with as much care and sustained concentration as in last night's concert, the result is a very satisfying musical experience.

In the last few years, the Harvard-Radcliffe Orchestra has had difficulties of every sort, ranging from lack of personnel and technical competence to miserable programs and second-rate performances. Fortunately, many of these problems have, for the time being, been eliminated. The orchestra is full and competent; if last night is any indication, they are offering excellent programs and doing full justice to the music.

Tonal beauty in every section forms the outstanding feature of the orchestra. The winds have always been strong; but now the strings are demonstrating a richness and, at times, even a brilliance. There is very little to complain of in the technical aspect of their present level of performance.

Nevertheless, a constant feeling of limitation and constraint hampers the orchestra and prevents the musical quality of their playing from attaining to the standard of their technique. Such a defect becomes particularly evident in a concert devoted to works like the "Eroica" Symphony, the G-Major Piano Concerto, and the "Egmont" Overture--works offering possibilities in interpretation and depth that are conspicuously avoided.

The responsibility for this lies solely with the conductor. In Attilio Poto, the orchestra is fortunate in having a man whose impeccable conducting technique provides control and discipline, and whose sense of balance allows the clarity imperative for a good performance. But Mr. Poto does not go any further. Technique is substituted for feeling, clarity for delineation and emphasis. Throughout, the absence of a shaped phrase, a smooth flow of line, or a large conception is painfully evident.

This showed especially in the "Egmont" Overture, a piece built upon tensions and climaxes which were just not there. But even crueller were passages in the second and last movement of the Symphony, which build to powerful, triumphant counter-rhythms that were simply diluted away. The majestic main theme of the finale never reached a logical fulfillment. The examples go on and on; always the inevitability of Beethoven's structure was underplayed or destroyed.

To Mr. Poto's credit, he is an excellent accompanist and extremely sympathetic with a soloist. Last night's was Joel Sachs '61, this year's winner of the Pierian Sodality Concerto Contest. In its musical problems, the Fourth Concerto is one of the most difficult in the entire literature. Mr. Sachs was most successful when he did not attempt to do something unusual. His strongest asset is an exceptionally lovely and fluid tone, which was often ravishing in the closing Rondo. His passage-work, particularly in the last movement when it cleared up, sparkled, and the reading was modest, but very effective.

The concert as a whole provided many pleasures for the audience, as well as challenges to the Orchestra which were met with spirit and energy. The Orchestra should continue to grow musically as it already has technically; this is their major task at this point.