Word: hro
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Dates: during 1970-1979
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Approximately 90 members of the Harvard-Radcliffe Orchestra (HRO) left last night for a two-week trip to Berlin to participate in an international student orchestra competition sponsored by the Herbert von Karajan Foundation. Karajan was a former conductor of the Berlin Philharmonic Orchestra, and the competition is in honor of his 70th birthday...
...Kogan, the student who rendered a St. Saens work so nicely in an HRO concert earlier this spring, will perform in a piano recital on Friday, May 12, at 8:30 pm, in Adams Lower Common Room. Kogan's performance of works of Beethoven, Chopin, Debussy and Schumann should be just as fine and convincing as his HRO performance...
...HRO has also been more imaginative and original in its choice of programs, performing both modern works and less famous pieces by famous composers. The Orchestra continues this practice this weekend in its final concert of the season, an unusual program of Haydn, Kirchner and Mahler. James Yannatos will conduct Haydn't Symphony No. 45 ("Farewell"), and Mahler's Symphony No. 1 ("Titan"); Kirchner will be the guest conductor for his own "Music for Orchestra." The Mahler deserves close listening, expecially if you've never heard his orchestral works before; it's an interesting prelude to his even more mammoth...
Better coordinated and disciplined than in some of its previous concerts, the HRC played with feeling, alternating between restraint and considerable power. Conductor James Yannatos brought out the talent in the HRO, combining the roles of the individual instruments with the orchestra as a whole. The dreamy forest of Debussy's Prelude to the Afternoon of a Faun, the lightness of Saint-Saens's Piano Concerto No. 2 and the Bohemian flavor of Dvorak's Symphony No. 8 in G were all pleasing to the ear and mind. The technical performance of the musicians--particularly Roy Kogan's solo...
...PRELUDE SUGGESTS this same flowing, uncertain dreaminess. Throughout the work, the HRO almost perfectly conveyed this delicacy and subjective use of different sounds. The horns evoked impressions of the tremulous colors of the forest and the unmuted strings suggested the dance of the faun. Particularly impressive were the excitement and fullness which the whole orchestra achieved as it suggested the faun's anxious chase of the nymphs. The winds, brass and violins showed just the right amount of restraint that Mallarme imparts to the faun in the poem...