Holst, Beethoven A Hook for HRO

It was clear that the opening of the Harvard-Radcliffe Orchestra’s 200th season was going to be incredible from the very beginning.

When the esteemed James Yannatos, music director of the orchestra since 1964, first graced the stage, he triumphantly grabbed and lifted the hands of concertmaster and first-chair violinist Aaron T. Kuan ’09 and cellist Jessica J. Wang ’08. By the end of the evening, it was the audience who was lifting their hands in applause for the orchestra’s outstanding performance of Beethoven’s “Symphony No. 5 in C minor, Op. 67” and Holst’s “The Planets.”

The evening began with the familiar sound of Beethoven’s “Symphony No. 5,” which first premiered in Vienna’s Theater an der Wien in 1808—the very same year that the HRO’s first incarnation was formed. This piece was an appropriate classic with which to start off such a momentous season opening.

The symphony, composed of movements “Allegro con brio,” “Andante con moto,” and “Allegro in two parts,” was played to perfection. The famous opening theme was played in an array of keys and variations which allowed every part of the orchestra to truly shine.

Short, delicate and softer sounds were abruptly transformed by crescendo into more drawn out, stronger, and more urgent sounds. This captivating pattern almost hinted at a battle between the instruments.

The second movement, “Andante con moto,” was much more peaceful than the first. It featured less abrupt crescendos and an underlying staccato rhythm that acted as a steady pulse that allowed for an easy transition into the third movement.

After a fast-paced repetition of the opening theme, the beat from the second movement reappeared and escalated into a triumphant sound in the combined third and fourth movements, “Allegro.” The entire orchestra united into one common, uplifting sound that appropriately led into a grand and united finale. The battle between the instruments that was present in the first movement had beautifully melted away.

Yannatos, filled with the energy of the music, was an instrument himself. Twitching, twisting, and spinning his arms to the flow of Beethoven’s masterpiece, he was truly amazing to watch. The orchestra, precisely matching each of his movements, confidently carried us through the remainder of the work.

The second half of the show focused on Gustav Holst’s “The Planets,” a more contemporary piece by the renowned British composer. Split into seven extremely different parts named for each planet (except Earth) and its respective influence on astrology, Holst’s piece proved to be fascinating. The orchestra undoubtedly lived up to the high expectations it had formed after the first half of the show, playing Holst’s piece without any noticeable error.

After courageously beginning the piece forcefully, with loud, full strings and strong, persistent percussion in the movement named for Mars, the “Bringer of War,” the orchestra confidently strode on through the remaining six movements.

The orchestra’s wide array of sounds and tempos successfully revealed each of the movement’s disparate roles. In the movement of Venus, the “Bringer of Peace,” we heard a gentle, calming sound complete with harps and celesta. In Jupiter, the “Bringer of Jollity,” shimmering sounds glittered with high-pitches. The final movement, “Neptune the Mystic,” however, was the piece that truly captivated the audience.

With the silent entrance and gentle, wordless vocal performance of an all-female choir on the balcony high above the orchestra, this final movement proved to be the grandest of finales. The choir acted as another of Yannatos’ instruments as the members alertly watched for his cues and perfectly complemented the orchestra with their voices.

As the instruments faded, the choir hummed on and off into the night as they exited. Finally, the sound was hushed and left the theatre in stunned silence. This brief moment of awe was just one of the many highlights of a fantastic performance. Bravo, HRO, Bravo!