BUTLER TWP — At the Butler County Symphony Orchestra’s final concert of the 2016-17 season Saturday night at the Butler Intermediate High School, the orchestra displayed absolute mastery of the American Masters.

Certain composers are capable of excelling in many genres of music yet are immediately identifiable. Such is the case with Leonard Bernstein. The theme music of the 1954 movie “On the Waterfront” was evidence of composer’s genius for technique which spanned both jazz and popular styles but retained a distinctive Bernstein flair.

“On the Waterfront” opened with a soft, beguiling horn solo that was repeated by the woodwinds before it evolved into the brass as it gained volume and increased in tempo.

Jeff Kroner’s fluid saxophone solos drifted over an agitated rhythm established by the drums and strings. Intricate syncopation and ongoing minor tonalities repeatedly created conflict that was resolved into a more hopeful sound by the conclusion.

While essentially pure jazz, Bernstein’s score challenged the orchestra which handled the wild rhythms and harmonies with wonderful skill.

Young Artist Concerto Competition winner Angela Renninger mesmerized the audience with her ability as she played Concerto for Alto Saxophone and Orchestra by Henri Tomasi.

The single movement, Andante et Allegro, opened with the orchestra playing dissonant and random-sounding notes. Renninger answered with a line that floated freely, accentuating the rich tone and flexibility of her instrument through extensive, complex cadenzas and lyrical melody lines. The result was both unique and lovely to hear.

“American in Paris” by George Gershwin is a much beloved jazz-style piece that paints a musical portrait of the bustling, beautiful City of Light. From the perky promenade theme at the beginning with its distinctive taxi horns, to the slow, sexy middle theme to the powerful finale Maestro Matthew Kraemer led the orchestra in bringing fresh life to the familiar music.

The last work of the evening was Duke Ellington’s “Black, Brown and Beige,” a tour de force of swing/jazz style. Less frequently played, the work deserves more exposure. The three movements flowed from one to the next without pause.

The Black: Work Song segment was initiated by a strong rhythm established by the timpani and accentuated by Ellington’s sophisticated cool jazz melody in the brass and the wind instruments.

Another elegant saxophone solo by Jeff Kroner introduced the Brown: Come Sunday movement which ended with a scrap of the well-known spiritual “Swing Low Sweet Chariot.”

The final part, titled Beige: Light featured abrupt tempo changes and a harmonic line which tumbled down the scale only to ascend again before sliding into a sweet quiet end.

As a last concert for the season, the American Masters performance clinched the orchestra’s ability to shine in all varieties of music and to appeal to all audiences — a season mastered from end to end. Bravo!