For the past three nights, P-town’s ultimate cover band ended their program with Aaron Copland’s Symphony #3 – a composition whose well-known brassy chorales of American triumph made it an easy dedication to the recently terrified people of Boston. What preceded this symphonic sympathy note, however, was a pair of works so filled with palpably resilient energy, they were more than equal reminders of what’s best about the human condition. Kicking off the show was A Jazz Symphony written by the über-intriguing figure of George Antheil. Its herky-jerky syncopation, unpredictable insanity, and super sick stylings resulted in 8 solid minutes of perma-grinning for over 2,000 folks. [In my book, the kick-ass piano chops of Carol Rich were independently worth the price of admission.] And the evening’s soloist was Manitoban genius James Ehnes, whose deft display of violin virtuosity throughout the entirety of Bernstein’s Serenade was almost unnerving. Even from Row Y in the Upper Balcony bleachers, my ears were struck by the cool brilliance and unstoppable technique of Mr. Ehnes and his 298-year-old Stradivarius. Glimpsing the sublime moments when Jimmy’s fiddle teamed up with Nancy’s cello or Jennifer’s harp or Mike’s xylophone was like capturing sonic encomiums of love, tenderly delivered within a Schnitzer symposium. Oh, what a night!
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