BSO All-Gershwin with Jean-Yves Thibaudet piano

There are many ingredients to an outstanding musical performance and they were all included in the All-Gershwin menu that Marin Alsop with the Baltimore Symphony Orchestra and pianist Jean-Yves Thibaudet served up for a capacity crowd at Strathmore Music Center last night (11/14). The maestra was confident and energetic, connecting with the audience immediately, as she introduced the program from the podium; the orchestra played with assurance, this their third run through the music in as many days; and the soloist possessed total command of the keyboard, giving a dazzling realization of all that the scores and instrument had to offer, and then some.

The program featured the original orchestrations of George Gershwin's Rhapsody in Blue and the Concerto in F by Ferde Grofé (of Grand Canyon Suite) as they were performed for the Paul Whiteman Band in the mid-1920s; while the "I Got Rhythm" variations were rendered in a manner that the scaled-back Leo Reisman Orchestra (30 members) gave the public in the mid-1930s. Consequently, though recognizable, each had a distinctly different flavor to it based on the arrangement and interpretations of the conductor and soloist.

Each part of the concert was preceded by overtures to two classics of American Musical Theater which George wrote with his lyricist brother Ira: Girl Crazy and Of Thee I Sing. You'll recognize the former immediately which is chockablock with hit tunes - recycled in Ken Ludwig's 1990s musical Crazy for You - while the latter, a less frequently heard send-up of politics is trotted out with every change in administration, as if to remind us that the more things change ....

Mr. Thibaudet strode boldly onto the stage, trim and beaming, encased in a unique tight fitting black designer tux - as if harnessing all the pent-up energy about to explode. His is one engaging stage presence. I was familiar with his gentle phrasing from his Debussy piano recordings, but never witnessed his immense range in style, tempo, and sound. He was quite at home in jazz, easily delivering brisk and pounding notes, with a dexterity that was mesmerizing as it was awe-inspiring.

In the Rhapsody Ms. Alsop unleashed the woodwinds and horns for a jazzy, get-down send-off. After the patented glissando opening, with the clarinetist sounding like a snake charmer and horns muted to a wa-wa timbre, Mr. Thibaudet joined the fun. Starting with a delicate and romantic phrasing, he built his performance to a bluesy, then jazz-fueled crescendo. Looking every bit the music hall player, he delivered cadenzas in keeping with the mood, while totally in sync with the conductor and orchestra. For all of the versions of Rhapsody, and I've heard many, this was as good as it gets. The conclusion was electric - the audience responding with a thunderous applause in kind.

The "I Got Rhythm" variations next up sounded alternatively like a progressive jazz riff on the showstopper tune, interspersed with some sonorous melodies (particularly the waltz), played in unison by the violins to throbbingly good effect, with an exotic or Chinese sequence thrown in to add spice.

After the intermission and the Of Thee I Sing Overture, replete with ironic references by the xylophones and the pomp and hoopla by the full orchestra, Mr. Thibaudet returned for the Concerto in F. (At this point the pianist's daunting task became apparent: on stage for most of the first half of the concert, he was getting ready to perform again for another 30 plus minutes, a major workout.) Of all the arrangements, this one sounded the most removed from what we've been accustomed to in the past. Stage left was partially vacated, with the cellos and a few other instruments gone; however, the full complement of violins remained to give the piece a distinctively textured quality. Janet E. Bedell's compilation of Gershwin's notes (and her own excellent writing) of the work indicate the first movement has a Charleston rhythm, the second is nocturnal in mood, and the final a reversion to the first with an increase in intensity ("relentless hammering" of the piano) and spectacular conclusion. That's pretty much what unfolded except to say that it had a minimalist quality at times. Timpani and cymbals delivered the beat while bassoon and later the piano - initially performed languidly and then allegro - picked up the rhythm. Mr. Thibaudet lovingly caressed the keyboard in the second movement, bringing out all the color he and the instrument could muster, while the violins together or solo (with Concertmaster Jonathan Carney) and horns (Andrew Balio on trumpet) gave it a sultry effect. The soloist's keyboard wizardry was on display as he entered the final stretch and the conclusion; like the evening itself, the music making was everything you could hope for from all concerned. Ms. Alsop and company, whose regard for Mr. Thibaudet was apparent, were on the same page, if not joined at the hip throughout and a rousing standing "O" greeted the performers for four (and almost five) curtain calls.

The only bad news, as you read this, is that the concert series has wrapped (but they will be recording the piano works in March); however, the good news is that Mr. Thibaudet, Ms. Alsop and the BSO will be back at Strathmore on Thursday 11/19 to start another program with Mr. Thibaudet performing Liszt's Totentanz and Ms. Alsop and the orchestra playing the Symphonie Fantastique by Berlioz. Ms. Alsop says that if you mention her name (Marin without the "t") you'll get 50 % off your ticket price, so pick up the phone or get on line presto!

Sound check: Excellent, low to acceptably high sound levels for this unamplified performance

Program notes: Excellent, a tip of the baton to Ms. Bedell who has increased our musical understanding and appreciation immeasurably. Might consider adding instrumentation by work for future programs

Applause meter: Highly recommended, 4 ½ hands, an exceptional performance

Runtime: 1 hour and 50 minutes with an intermission

Photo credits: Ms. Alsop, Dave Hoffmann; Mr. Thibaudet, Decca Kasskara