enthusiastic audience with a thrilling all-Beethoven programme at St. John's Church, Pembroke.

This was a dazzling opening to the Bermuda Festival 1994. Much larger than the usual baroque ensembles we have had in the past, it was still obviously, by modern standards, not a huge orchestra. It does not actually take a large orchestra to play Beethoven. What it does take however is a group of musicians who have, without exception, from flute to double bass, complete mastery of their instrument. Despite their youth, all members of the Juilliard Orchestra played with a precision and artistry far beyond their years. With technical excellence and youthful energy combined, they were then honed to superb ensemble, under the assured baton of conductor Otto-Werner Mueller.

The programme began with the Coriolan Overture. Composed in 1807, the overture was part of a musical package which included three string quartets, a symphony and a concerto, and which were sold on Beethoven's behalf to a British publisher by Clementi for four hundred dollars. Hardly a magnanimous sum even by nineteenth century standards, especially since it took Beethoven three years to collect the money.

Based on the story of the Roman general Coriolanus, the overture, a sort of "Classical Programme Music'' was a dramatic and brilliant start to the evening.

The main work in Thursday night's performance was the Piano Concerto in C minor opus 37 with soloist Jennifer Hayghe.

A native of Virginia, Miss Hayghe was one of the nine participants in the Ninth Van Cliburn International Piano Competition. She is at present studying for her Doctor of Music degree at the Juilliard School with Robert Stessin.

Relaxed and confident, she was a pleasure to watch and a joy to hear. Her insight was remarkable. From the drama and pathos of the opening Allegro Con Brio, to the sublime beauty of the Largo and the ebullience of the final Rondo, she displayed a flawless technique and a breathtaking command of style.

There seemed to be a wonderful rapport between conductor and soloist -- this isn't always the case -- and the orchestra responded as an excellent support system throughout.

The final work was Symphony No. 8 in F major. Beethoven's normal practice was to sketch his symphonies during his summer holiday in the country, and to elaborate and score them during winter and spring. The 8th symphony is an exception to the rule. His sketch books show that it was begun immediately after the completion of the 7th, and must have been finished in the, for him, astonishingly short time of four months. Without the heroic scope of No. 5 or No. 9, it was, however, one of Beethoven's favourite works.

Though it has grandeur and the second movement particularly has a certain sophisticated grace and elegance, its hallmark is most definitely humour and fun. It was a perfect vehicle for the young Juilliard performers whose joy in their art was so much in evidence, and it brought their first concert in Bermuda to a perfect conclusion.

We are indeed fortunate to have their great wealth of American talent practically on our doorstep. Hopefully this will be the first of many visits by such groups. It would be of considerable advantage to music students in Bermuda to attend one of these scheduled orchestral concerts. There are still some tickets available for Saturday evening. -- Marjorie Pettit.

OFF TO A GOOD START -- The Juilliard Student Symphony Orchestra at the Festival.