DUBLIN, Ireland -- Economists, politicians and sociologists can debate the health of Ireland and its largest city. Ireland's economic boom in the 1990s, its stance on international issues and its influx of immigrants have made its future a complicated subject.

	Michael Rusinek is handy with golf clubs as well as with a clarinet. Click photo for larger image.

But to those of us who visited Dublin in years past, including Pittsburgh Symphony Orchestra members who toured here in 1999, there is no denying the city has changed for the better. Even a decade ago, the streets were less safe and the town dirtier.

On this tour the change is palpable, at least for tourists. The Emerald is polished, the people are friendly, and the attractions in the walkable city are welcoming, from the National Gallery to the Guinness Brewery Storehouse. The parks and gardens are lush, especially the quaint Iveagh Gardens, nestled behind the National Concert Hall, where the PSO has performed the past two nights.

And so the PSO musicians have been wandering around the city during their time off, finding that the traditional pubs are enhanced by an array of international culinary options. Because of the location of the hotel, almost all trips to the city's main attractions start with a stroll through the exquisite St. Stephen's Green. From duck ponds to rock outcroppings, green lawns to verdant flora, areas of solitude to a space for free outdoor theater, the park dazzles at every turn.

Listen in: PSO oboist Scott Bell, English horn player Harold Smoliar and his daughter, Rachel discuss their impressions of Dublin with the PG's Andrew Druckenbrod. Interactive map See the PSO's 2006 European Tour | View the tour in a popup window Previous coverage PSO plays all-American program in Dublin concert Classical music in the land of the classics (8/26/06) PSO touches down in Greece to kick off tour (8/25/06) European tour connects PSO to new audiences (8/20/06) Music Preview: Slatkin saves the day / Conductor is once again there when the PSO needs him (8/17/06)

Of course, it doesn't hurt that the temperate climate here makes it comfortable even in the sun.

From there many musicians shopped along Grafton Street, Henry Street and the Temple Bar district en route to visiting museums and monuments. The Garden of Remembrance is one of the more touching memorials you will see, with its reflecting pool in the shape of a cross ushering one's gaze toward a moving statue of those killed in the Easter Uprising of 1916, their fleeing souls represented by soaring geese.

The newest addition is the Monument of Light, a 396-foot stainless-steel spire on O'Connell Street that is instantly one of the more impressive works of public art. PSOers who wandered to this section of town also were lucky enough to see a temporary outdoor exhibit of the fantastic bronze "Hare" sculptures of Dublin-based artist Barry Flanagan.

While the National Gallery is the big museum, the more intimate Dublin City Gallery has a most unusual exhibit to go with its Monets and Manets. It has painstakingly re-created the London studio of Francis Bacon in all its disheveled beauty, giving insight into the painter's darkly imaginative works.

Concerts well received

Darkness was a reoccurring and salient part of the concert last night, beginning with Strauss' "Till Eulenspiegel's Merry Pranks" (well, Till does get hung at the end for his shenanigans).

A combination of conductor Leonard Slatkin making adjustments from the previous concert and that all three works on the program -- including Shostakovich's Symphony No. 9 and Brahms' Symphony No. 4 -- don't have as many loud, tutti parts in the upper registers as the works two nights ago meant the concert hall's acoustical shortcomings weren't as much of a factor last night.

The hall's liveliness allowed for decent mid-range sound and accentuated solos, and the Strauss had several spectacular ones -- by horn players William Caballero and Ronald Schneider and concertmaster Andres Cardenes.

The somber Brahms Four had a few moments of unconfident playing and loose ensemble, especially at the onset. However, as in Patras, Greece, it grew in quality and expressiveness as it progressed. Slatkin, in particular, has a good bead on the pacing of the mammoth second movement, and his flexibility with the passacaglia of the finale is admirable.

Shostakovich's Ninth made its tour entrance here, and it was a success. In this work, darkness is hidden under a false facade of happiness, portrayed excellently by piccolo player Rhian Kenny in the first movement. But the truth comes out in a bleak bassoon solo, played by Nancy Goeres. Again, there were some ensemble issues, mostly of entrances and cutoffs, but not so much as to affect the gist of the work.

The hall (capacity 1,200) was filled for both PSO performances, and the Dubliners I spoke to, albeit a small sampling, were effusive about the virtuosity and the expressiveness of the PSO.

Notes from the tour

The Ryder Cup arrives at the K Club in County Kildare near Dublin in September, but violinist Christopher Wu and clarinetist Michael Rusinek got a head start. They met up with former PSO board chairman Thomas Todd and his wife, Jamee, Sunday to play Portmarnock, a seaside links course.

"It was great," said Rusinek. "These courses are special to play because they are so different."

Wu and Rusinek have a "standing match" with the Todds, and the clarinetist was happy to report the musicians "squeaked out a victory."

Three PSO principals -- horn player William Caballero, bassoonist Nancy Goeres and bassist Jeff Turner -- gave master classes at the National Concert Hall yesterday.

A group of PSO supporters is traveling along with the orchestra in a "Patron Tour." They are attending most of the concerts, but have an itinerary that allows them to see other sites.

Yesterday, the group and a few musicians visited several Irish gardens outside Dublin, including Killruddery House. In the Elizabethan revival mansion, PSO trombonist Robert Hamrick was asked to play an intimidating horn that had hung unused on a wall there for decades. He complied with gusto. Then oboist Cynthia DeAlmeida got the entire group to sing an old Irish tune from a piece of sheet music that had not been looked at for some time.

Later, the group got a private screening of the Book of Kells at Trinity College, during a tour given by the university's head librarian, Robin Adams.