A Masterclass in Contrast: Stella F. Chen ’15 and the HRO Close the 218th Season

On May 2, the Harvard-Radcliffe Orchestra (HRO) concluded its 218th season at Sanders Theatre with a program that relied on high-contrast melodies and perhaps its strongest technical feat yet this year. Under Music Director Federico Cortese, the orchestra moved through composers Tōru Takemitsu, Sergei Prokofiev, and Antonín Dvořák, with Prokofiev’s piece also featuring standout soloist Stella F. Chen ’15. While the repertoire was rooted in the 19th and 20th centuries, the HRO’s delivery focused on the vastly different stylistic languages of each composer.

The evening began with Takemitsu’s “Requiem” for strings. The piece was defined by a sense of “mono no aware,” a Japanese concept regarding the beauty of the fleeting nature of life.

The HRO strings successfully avoided a muddy sound, which is a common risk with Takemitsu’s thick, chromatic harmonies. The piece began with a muted, winding melody in the violas that sat unexpectedly high in the register before the rest of the ensemble joined in to thicken the sound. The most striking moment came when the violins reclaimed the opening theme, while below them, the lower strings provided a shimmering backdrop of ponticello arpeggios. Throughout it all, Cortese kept the tempo moving just enough to prevent the rhythmic sections from feeling stagnant.

The energy in Sanders Theatre shifted sharply with Prokofiev’s Violin Concerto No. 2 in G Minor, as Chen took the stage to thunderous applause. Chen, now a celebrated Juilliard faculty member and winner of the 2019 Queen Elisabeth Competition, brought a commanding presence to the performance that matched her technical reputation. In the first movement, the allegro moderato, her violin entered entirely alone. Her tone was dark and focused, cutting through the muted low strings of the cello and bass. The movement at times felt like a tug-of-war between the expressive and more somber melodies, with the brass and strings achieving a fierce climax before the movement ended with a withdrawn conclusion.

In the second movement, the andante assai, Chen again played a long, solo melody that felt suspended over the pizzicato of the violin strings. Throughout the movement, the music fluctuated between expansive, lyrical sections and sudden interruptions from the brass and the full orchestra. A standout moment occurred near the end when the orchestra took over the main theme while Chen switched to backdrop accompaniment. This required a delicate balance that the woodwinds handled with precision, ensuring the soloist wasn’t buried.

The finale, Allegro ben marcato, provided an aggressive jolt to the program. This movement is defined by its rhythmic instability and constant lurching between five and six beats in a way that feels perpetually off-balance if not done correctly. The percussion section handled this section masterfully, underscoring this with sharp, dry accents from the castanets — a stylistic nod to the work’s premiere in Madrid. Chen’s execution of the coda was particularly fierce, her bow flying across the strings as each note came out crisp despite the fast-paced ending.

After a brief intermission, the HRO turned to Dvořák’s Symphony No. 9, “From the New World.” Composed in 1893, the piece is a synthesis of Czech folk and American influences. The opening Adagio began with a melodic legato section of the strings, before melting into a call and answer exchange between the horns and woodwinds. The focus on rhythm in the first movement was apparent, and the flute solo provided a moment of lightness before the full orchestra came together for a forceful, climactic ending.

In the second and third movements, the English horn played by Rosehn “Rosh” S. Chatwal Roshen “Rosh” S. Chatwal ’26 was a standout, delivering a hauntingly beautiful, folk-like melody. The strings supported this with hushed chords, creating a sense of melancholy. The Scherzo brought a return to rhythmic intensity, with the timpani played by Ryan A. Lopez ’28 providing a clear, punching pulse that drove the movement’s dance-like sections.

The transition into the finale, Allegro con fuoco, is perhaps the most famous section of the symphony, and for good reason. The HRO brass section was at its best here, launching into a swelling crescendo masterfully. The piece drove toward its finish over a melody called in by the cellos and basses, ending the night on a high-energy note.

The HRO’s 218th season finale was a reminder of the orchestra’s ability to handle repertoire with a high degree of technical clarity and stylistic awareness.

—Staff writer Maya Y. Koreth can be reached at [email protected].