Harvard-Radcliffe Orchestra

An unusually excited audience filled Sanders Theatre Friday night to welcome what might be termed the "new" Harvard-Radcliffe Orchestra on the occasion of its opening concert this year, and the debut of its conductor, Michael Senturia. It was a triumph all around as the orchestra, after recent years of mixed success, proved itself to be one of Harvard's most important performing groups.

The novelty was provided by a greatly expanded orchestra, including many new faces, and blessed with a huge and excellent string section. The strings found a deserved complement in the virtuosic wind group which pulled off Stravinsky's exacting Symphonies for Wind Instruments with breath-taking precision and intonation. Nor did Mr. Senturia let technical concerns overshadow the equally crucial matters of vitality and awareness which should be the major strengths of any good amateur ensemble.

Friday night's short but challenging program featured Landon Young as soloist in Beethoven's Piano Concerto No. 3 in C minor. His performance gave a continual impression of control and breadth, of getting far above the notes and phrases to achieve a coherent interpretation of each movement. There was a satisfying bigness about his reading that fitted this concerto perfectly, while not sloughing over the more lyrical passages. The second theme of the opening movement, particularly, with its appealing soulfulness, had a tender, longing quality without being sentimental. One could have wished for just a little less deliberateness in the second movement, a little more flash in the finals, and greater rhythmic definition throughout; but these are minor considerations in the light of a competent and careful performance.

The orchestral accompaniment had its exciting moments, especially as in the extended tutti passages, but it was not an altogether easy collaboration. There had obviously not been enough time to become sure about catching the end of the solo runs, with the result that the last movement sounded grim and dogged and too tense. With regard to the difficult dynamic problems of the slow movement, it is often the case that a relaxed, controlled mezzo-piano will actually sound quieter than the strained tone the full orchestra produced when trying to match the soloist's softest passages. The orchestra fared better in the opening movement, where it could display its brilliant sound with less inhibition.

In the first half of the concert, the orchestra divided, with the winds performing the Stravinsky and the strings showing their stuff on an arrangement of Bach's Ricecar a 6 from the Musical Offering. The main virtue of this arrangement was that it provided an effective showcase for the shining string tone the orchestra has developed. This was unfortunately offset by a thickness which often obscured the contrapuntal writing in favor of a rich sound, and an occasional slickness and unfaithfulness to style. While avoiding the purists' contention that nothing of Bach's should be performed in an arrangement--after all, Bach did his share of arranging--it should nevertheless sound ideally as though Bach, and not Tchaikowsky (or Stokowsky) had done the arrangement. The performance, aside from an extremely mannered exposition of the subject, was polished and well-conceived.

The presence of Mr. Senturia as the orchestra's conductor, together with the acquisition of so much new talent has made a great difference in the morale and performing quality of the group. Mr. Senturia has reached a good balance between preparation and spontaneity, between attention to concerts and the more private activity of sight-reading in rehearsals. His conducting is not subtle, but it is rhythmically sure, as was shown in the complicated Stravinsky pieces. But much more important is the sense of enthusiasm which he communicates to the players, which is reflected back to the audience in performances that are alive and interesting. With careful selections of future programs, this should be an exciting year for the orchestra and its listeners.