LAST YEAR's Music 180 class had some of the best musicians at Harvard. The Bach Society has begun to raid that icebox and the result has been a greatly improved orchestra.

Last Saturday, Robert Hart Baker conducted a solid program of Bach's fifth Brandenburg Concerto, Corelli's Concerto Grosso number 8 (opus 6), Mozart's Bassoon Concerto in B flat (k.V. 191), and Haydn's Symphony number 103 in E flat. Many of the ragged edges and hesitant entrances of the previous Bach Society concert had disappeared, and the violins followed concertmaster Lynn Chang's example, sawing into their strings with a vigorous attack which was missing in the first concerts of the season. Chang, who is one of the Music 180 graduates, was joined in the Concertino (solo group) of the fifth Brandenburg by a capable Halley Sheffler on the flute and David Schulenberg at the Harpsichord. Schulenberg's rendition of the show-stopping harpsichord cadenza was textured like the score of a Broadway musical, and it evoked a ripple of whispered enthusiasm from the audience.

Chang led the concertino of the Corelli "Christmas Concerto" with violinist Robert Coalson and cellist Nestor Cybriwsky. The concerto is not particularly difficulty, but Chang and Coalson played with an enthusiasm and confidence reflected in their music. Unfortunately some very sour notes wafted out from the back rows of the violin section, somewhat spoiling the concerto's beautiful second movement.

Bach Society subscribers had been looking forward to Carter Brandon's solo performance with great anticipation. Brandon, another of that Music 180 class, proved himself all that he is reputed to be. The Bassoon Concerto is an odd piece of music, but purposefully so--it is carefully crafted to the odd demands of the bassoon. One usually thinks of the bassoon as an "oom-pH" instrument, used for punctuation and bass foundations, but it has a beautiful tone, and is capable of some e startling leaps and bounds. Brandon negotiated the two octave jumps and running sixteenth note passages with ease and aplomb. His real success lay less in forcing the awkward bassoon to cooperate in difficult passages than in his respect for his instrument, which was reflected in the cadenza. Instead of a flashy passage of trills and fast runs with which most soloists show their stuff, Brandon played a more melodic composition which emphasized the rich tonal qualities of the bassoon. He also showed a fine ability to improvise when he forgot a few measures. Mozart's tailored composition and Brandon's full and moving interpretation combined to produce a fine concerto for an unlikely instrument.

HAYDN'S Drumroll Symphony was intended for an 80-piece orchestra, and most modern orchestras play it with even larger ensembles. The Bach Society's half-strength rendition was surprisingly effective, especially in the last movement. Haydn wrote into the piece a part for solo violin which was intended for his friend, the virtuoso Johann Salomon. Lynn Chang assumed Salomon's part, and elicited all of its show-off excitement. The French hornists, though, had a tough evening. Amy Larkey and Susan Grody struggled with a part which demanded entrances with very high notes. The critical attack on the first note is harder on the French horn than almost any other instrument, especially on high notes. Baker had the two stand to accept applause for their determined, if imperfect efforts.

As the last movement of the Haydn symphony teased the audience with successive crescendos which finally culminated to end the piece, the excitement had risen, and Baker was given a roaring final ovation. The Bach Society's next concert features Yo-Yo Ma as guest soloist. If he can continue the influence on the orchestra that his classmates from Music 180 have forged, it should be a fine concert.