Soothsayers of the digital age have often heralded the coming fall of the live symphony orchestra. Digital formats can do it better, easier, and cheaper, they explain condescendingly before returning to the tired refrain that classical music simply can’t connect to a modern audience. The Harvard-Radcliffe Orchestra’s March 1 performance in Sanders Theatre elegantly refuted those points, providing a strong reminder of the beauty and timelessness of orchestral music.

The concert began with a moving rendition of Richard Strauss’s “Don Juan.” From the ebullience of the opening to the dreamy, sweeping notes of the love theme, the orchestra did a fantastic job conveying the story of Don Juan, a habitual womanizer driven to death by his inability to find a real relationship. The entire piece was emotionally affecting and well-played, but there were a few moments which stood out, including the oboe solo that represents Don Juan’s second love interest. Enticing and wistful, the notes filled Sanders Theatre from top to bottom, yet still felt deeply personal. “Don Juan” was perhaps the most relatable and enjoyable piece of the night; it reached levels of emotional depth that were simply outstanding.

Maurice Ravel’s “Rapsodie Espagnole” was next; although well-performed, it lacked the emotional impact of “Don Juan.” The dynamics of the piece were spot-on, allowing the technical subtlety of the music to come through, as well as its excellent percussion rhythms and Spanish influences. Yet, excepting the “Habanera” movement, which stood out for its fluidity and seductiveness, the Ravel piece didn’t hold the same emotional appeal as “Don Juan.” “Rapsodie Espagnole” was a typically challenging choice for the HRO: it’s fairly complex and the themes aren’t always clear, making it less accessible to audiences.

After intermission, the HRO performed Beethoven’s Third Symphony, which was clearly meant to be the highlight of the night. The Third is known for its unusual length (about 50 minutes) and emotional variability. To perform it live is a feat of skill and determination, and the orchestra acquitted themselves well throughout. The first movement was engaging from the start, and the second, a funeral march, was hauntingly beautiful. The fourth and final movement crescendoed into an anthemic, powerful statement that resonated both physically and emotionally. Yet despite all that, at times (particularly during the third movement) the symphony felt like a marathon as well as a work of art. The sheer length of the work can be both a boon and a challenge for the orchestra performing it, and losing the main themes within an almost hour-long symphony happens all too easily.

While the concert had its lows, the few peccadilloes pointed out here did not truly outweigh the many strengths displayed on stage. The orchestra was technically impeccable throughout the performance (or at least seemed so from a third-row balcony seat), and the music was nothing if not enjoyable. When the last strains of the Third Symphony faded into silence, the orchestra received a standing ovation that extended even into the balcony sections. While this doesn’t do much to enhance the already evident quality of the HRO’s music, it supports the importance of live classical performances.

The performance of a well-rehearsed orchestra is not only an auditory pleasure but a visual and emotional one: beyond the individual players and instruments, the orchestra gains a life of its own with the start of the music. The string players—more than 50 of them—were ranged across the stage, yet their bows moved in perfect unison to each swell of the notes. At times, this created the illusion that the orchestra itself was drawing breath. The wonderful physicality of the HRO players, especially the percussion and bass sections, only heightened such an impression.

The understated, unspoken choreography of the orchestra can seem anachronistic in an era of fireworks and backup dancers, but performances like Saturday night’s remind us how crucial live performances are in the appreciation of any genre of music, including classical. Classical music may not be the form of choice today, but we are indebted to musicians like those of the HRO for protecting its legacy.