Versatility was much in evidence last night in the playing of the RTE Concert Orchestra (augmented to 59 players) under organist Wayne Marshall at the gala concert celebrating the centenary of the birth of George Gershwin.
Just as the tension between the popular and the classical often marked Gershwin's compositions, so too did Marshall frequently find himself caught between the contrasting conducting styles of orchestral conductor and band leader.
At times too relaxed in his conducting, Marshall in his exuberant showman's guise often left the orchestra to its own considerable resources, resulting in ragged entries and an absence of overall cohesion.
Fluidity and the control of the wonderful mood shifts and rhythmic variations which are such vital elements in Gershwin's music were consequently often missed. Several times throughout a rapid, heavily improvised - if initially surprisingly tentative - performance of the usually seductive classic, Rhapsody in Blue, the excellent string section was left to compete with unguided and overpowering brass.
If Rhapsody lacked drama, the rich Cuban Overture was marked by panache and conviction. This was also captured later in the evening during Symphonic Pictures, Robert Russell Bennet's arrangement of themes from Porgy and Bess.
Soloist Kim Criswell created a cabaret atmosphere - no mean feat in the formal environs of the Concert Hall - evoking Gershwin the man as well as the songwriter.
She consistently placed the work in context and established a warm rapport with the audience.
As an interpreter of Gershwin her strengths lay in her understanding of the musical style and in dramatic characterisation. Her powerful voice, however, was not enhanced by amplification.
Marshall as orchestral conductor was at his most effective when accompanying Criswell. Here he displayed an excellent sense of musical timing and effectively balanced the orchestral resources with the soloist.
The celebratory programme, which was well received by the audience, testified to the enduring popularity and diversity of a composer ever alert to the possibilities of American jazz rhythms.
