THE HARVARD-RADCLIFFE Orchestra was in top form for its final concert last Saturday evening. If the group has been noticeably under the weather in past appearances this year, especially since the departure of permanent conductor James Yannatos, it is now on the way toward a total recovery. Appearing with a string section pared down to the absolute minimum, the orchestra seems to have reached a solid foundation on which to begin reconstruction. Next year, if full size can be reached without diluting present competence, the orchestra should be prepared to indulge all but the wildest programming whims.

The comeback was both massive and sudden, and it came as quite a surprise that the H.R.O. was able to perform as well as it did. A program consisting of Berlioz's Overture to "Benvenuto Cellini," Beethoven's Piano Concerto No. 1, Ravel's "Le Tombeau de Couperin," and Stravinsky's Symphony in Three Movements contains an ample selection of hexes for orchestral musicians. The Berlioz was a failure, but this shaggy, distorted reading can be set aside (though not excused). Neither the orchestra nor guest conductor John Corley was ready to bandle such a wildly gyrating piece, and with a little spiritless effort they got it out of the way. Mr. Corley had obviously cultivated a style better suited to the three remaining works--a straightforward approach that concentrates on accuracy, balance, and ensemble. In any case, the consensus at Sanders Theater (both orchestra and audience) seemed to be that there were better things to do that evening.

WHAT everyone was waiting for was Tonu Kalam's appearance as soloist in the Beethoven, Mr. Kalam, winner of the H.R.O. Concerto Contest, gave an astonishingly mature performance which was first-class in all respects. His tightly sealed conception projected a powerful sense of unity. It also preserved the concerto's familiar yet still voktile interplay of traditional restraints and puckish invention. Unhampered by technical difficulties, Mr. Kalam was the master of every phrase. By choosing not to extend dynamics to the upper limits, he achieved the ideal of every performing artist--the illusion of complete control with power to spare. The orchestra could not help but be influenced by the elegance of Mr. Kalam's playing. With the exception of a disagreement over dynamics in the second movement, strings and winds accompanied gracefully throughout.

The second half of the program was gratifying for optimists who stayed through intermission. They heard a spicy dialogue between two great composers of the twentieth century. Le Tombeau de Couperin is Ravel's impression of the traditional dance suite, and it is neatly shaped to an ideal of grace and delicacy. Stravinsky's Symphony in Three Movements, is perhaps a suitable answer to the Ravel, built, as it is, on the idea of the anti-dance dance. It has been made into a ballet despite the fact that its tantalizing rhythms and harmonies are meant to make the listener (or listener-dancer) trip over his own expectations. Stravinsky has built it from common raw materials--the same square meters and phrases which Ravel has used and only slightly modified. But Stravinsky has fractured them into suggestive fragments and then has rewelded them into eccentric patterns that are almost frightening (even to performers) in their ability to resist predictability.

Both pieces require agile playing and close attention to detail (the Stravinsky also demands strong nerves). Mr. Corley's emphasis on discipline paid off, and the orchestra was thoroughly successful on its own! Despite attacks of imprecision, the strings and winds together were able to spin out Ravel's beautiful net of sound. In the Stravinsky, the orchestra avoided most of the hazards and played most of the notes where they lay. Stravinsky did the rest.

Everyone hopes that after this performance there will be a marked turn in the H.R.O.'s fortunes. But no matter what comes of it, Mr. Kalam, Mr. Corley, and company deserved sustained cheers and applause. It is disappointing that more people were not there to lend a hand.