CLASSICAL Gershwin Piano Concerto /Philharmonic Hall.

Byline: GLYN MON HUGHES

PROGRAMME Gershwin with French impressionism and there were bound to be fireworks.

The latest Classic FM concert, given by the Royal Liverpool Philharmonic Orchestra, was a mixed bag.

The opening Cuban Overture by Gershwin set the scene: an irreverent, camp, almost bawdy scene setter which mixed risqu American blues with the warm sounds of Cuban dance music.

Here were cross rhythms, jazz inflections, some soulful woodwind solo playing in the slower middle section and, for the percussion section, a real walk on the wild side.

Kathryn Stott, an everwelcome visitor to Hope Street, was soloist in Gershwin's F major Piano Concerto. Always a dramatic interpreter, Stott led from the outset - though the concerto's opening was a little bedraggled. A slightly stodgy middle movement did produce some fine solo playing, especially from the trumpet while Libor Pesek - making a welcome return as conductor - led a frantic finale.

The second half was devoted to French works. Debussy's Nocturnes - played as at the work's premiere in 1900: without the Sirnes movement - demonstrated the composer's expertise both at freezing a moment in time, just as a photographer opens the shutter momentarily. Nuages was so beautifully understated, almost as though watching the clouds float past through a veil or from some distant outpost.

The reverse was true of the atmospheric performance of Ftes: joyous, anticipatory, almost pompous at times.

Pesek's interpretation of Poulenc's ballet suite Les Biches allowed the orchestra to enjoy themselves. The familiar opening Rondeau gave way to the Adagietto in which there were some delightful woodwind solos.

The lively Rag-Mazurka and a graceful Andantino turned into a riotous Finale - marred only by youngsters who managed to rattle sweet-wrappings through the entire concert.

GLYN MON HUGHES