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On Saturday, Nov. 9, the Harvard-Radcliffe Orchestra had some big shoes to fill following their last performance of Mahler’s “Symphony No. 3” on Oct. 5. And they did not disappoint, but instead took center stage with a program just as diverse and challenging as their talent was captivating. The concert began with a composition by John B. Austin ’56, titled “Cross Currents.” The orchestra captured the essence of this modern and daring piece, expertly navigating dissonant harmonies that flowed from one to another like a current. The most striking moment of the piece was when the orchestra went completely silent and the audience held their breath as the delicate percussion played an eerie melody.

While the abstract nature of the composition seemed to puzzle some audience members, its unique character might have resonated deeply with others. Listening to the piece on its own without the program’s description, it was hard to understand where the meaning of “Cross Currents” comes from. However, even after reading the composer’s explanation that the piece’s title refers to the free use of differing modal tendencies, the idea behind the work was difficult to grasp.

Then came the highlight of the first act — Beethoven’s “Violin Concerto in D major, Op. 61,” with soloist Calvin D. Alexander, Jr. ’27, a Crimson editorial editor and winner of the James Yannatos Concerto Competition. From the first entrance of the violin, it was clear that Alexander had a profound understanding of not just the music, but Beethoven himself. His interpretation was not only marked by precision and clarity of tone but, most importantly, emotional depth. The standing ovation he received was very well-deserved, and Calvin D. Alexander, Jr. is a name to watch out for in future symphony hall performances.

The orchestra offered amazing support to their superb soloist. They especially shone during the second and third movements, where the dialogue between the woodwind section and the soloist was exceptional. The orchestra also did a masterful job with their seamless transitions through various sections of the concerto.

After the intermission, it was time for student conductor Enoch Li ’26 to take the podium to lead Sibelius’s “Symphony No. 7.” As the Harvard-Radcliffe Orchestra 2024 Assistant Conductor competition winner, Li demonstrated professionalism and great understanding of the work before him. Sibelius’s “Symphony No. 7” is a masterpiece of the late Romantic era — unique because it is performed in a single continuous movement. Furthermore, this piece requires finesse and precision from both the orchestra and the conductor — Li rose to the challenge to do just that.

Under Li’s lead, the strings delivered a lush, humming tone while the brass section soared above the orchestra with clarity. The dialogue between the two sections was beautifully rendered, creating a perfect balance of chaos and peace.

The concert concluded with a grand finale, where students and alumni alike performed a stellar performance of “Mars” and “Jupiter” from Holst’s “The Planets.” This part of the concert featured 62 HRO alumni who joined the current members of the orchestra to play the demanding piece. Spanning decades from the 1960s to the 2020s, it felt as though the alumni shared their wisdom with the current members to deliver an otherworldly experience for the audience.

“Mars” was an intense movement with the brass section cutting through the orchestra with great tone as well as precision and power. On the other hand, the selection of “Jupiter” brought a more uplifting and joyous close to the evening.

This concert was a great testament to the extraordinary talent that is present at Harvard and beyond. While every piece stood out in its own way, the highlights of the night were definitely Calvin D. Alexander, Jr.’s performance of Beethoven’s violin concerto and Enoch Li’s conducting in Sibelius’s “Symphony No. 7.” The finale really encapsulated the theme of the night — Harvard’s intergenerational musical community taking center stage.