{TABLE} La Jalousie Taciturne..................Gerald Barry Piano Concerto in A, K414..............Mozart Eclogue............................... Finzi Symphony No 2......................... Honegger {/TABLE} THE Irish Chamber Orchestra's concert at the National Concert Hall on Sunday afternoon opened with Gerald Barry's La Jalousie' Taciturne, the only piece on the programme not conducted by Fergus Sheil. Fionnuala Hunt led the Barry from the first desk in a vivid performance full of Barry-esque elan.

La Jalousie Taciturne lasts about 12 minutes and its several contrasting sections each feature either a single textural and rhythmic idea, or a few, some in startling juxtaposition. The first section sets the violins and violas - in screeching-note clusters, rhythmic unison; and parallel motion - against an independent bass. The rhythmic concepts and the textural polarity are derived from Baroque music, but the result has an abandon far removed from any model.

Baroque concepts so dominate this music that it seems packed with references. Yet its force and immediacy subvert the attempt to identify them. ,One is left with Barry - in-your-face, memorable and provocative.

Rachel Quinn was the pianist in Mozart's Piano Concerto in A, K414, and in Eclogue for piano and strings, written by the English composer Gerald Finzi between the 1920s and 1940s.

In the Mozart she produced some nice tone and shaping. However, her playing did not have sufficient security to seem either spontaneous or confident (she did not play from memory in either piece), and she often pressed Fergus Sheil's clear and relaxed tempos. She was much better in the Finzi, though the performance was generally short on English pastoral caress.

Apart from the Barry, the most convincing performance was of Honegger's Symphony No. 2. Fergus Sheil has clear ideas about how this piece should go, and there was plenty of rhythmic energy, except for a tendency to droop when playing quiet and fast.

The ICO played with characteristic certainty and zest.