There are concerts, and then there are concerts. Last night’s Mobile Symphony concert was transcendent to say the least. Before I jump into my full report on “Beethoven and Blue Jeans” may I begin, with a short prologue.

New readers of this blog may not know, but I’ve been writing about the MSO for three or so years, on various blogs and for publications. It wasn’t until August of last year that I learned that the MSO staff had actually begun reading them, (Scott Speck included). Since I’ve always anticipated attending concerts, writing about them at length, and sharing my experiences with the readers.

I’m moving to New York in less than 34 days, last night was my last Mobile Symphony concert.

“Beethoven and Blue Jeans” concerts are always so well programmed, and in addition, very popular. Last night was special because Enen Yu, my violin teacher and MSO co-concertmaster was the featured artist, and I felt like last night was her night.

Mother decided to accompany me to the show, which also made it special. We got to the Saenger Theatre around 7:15, on our way inside spoke briefly to Thomas Harrison, then bought tickets. Sarah Wright was working the Will-Call and I greeted her, introduced her to my mother and we all talked about New York. Scott Wright also joined us and I said goodbye to them one last time.

My usual ticket collector was at the door.

“I saw you at the ballet,” I said, referring to Gala a week before.

“Wasn’t that great? I mean, ‘Swan Lake’ was normal. Well–” she corrected herself. “There’s nothing normal about ballet, but when those New York City Ballet dancers got on stage, I mean. Wow.”

We laughed and waved goodbye, Heather Pace Arnott was in the lobby in jeans a blue polo shirt.

“Are you excited!?” she smiled, and I assumed she meant excited about moving to New York.

“Yeah!” I said. I introduced her to mother and we went to our seats in the balcony.

Following a long introduction by the president of the board, Speck appeared, without his tuxedo. He introduced the Beethoven overture, and finally Enen arrived on stage in a pink top and white jeans for Mozart’s violin concerto no. 5.

I’ve only heard Enen play pieces from that era, which seem to be her best musical fit. She smiled occasionally, but otherwise displayed a sense of calm. When she dug into that hearty minuet, I really saw it on her face. Her first movement cadenza I remember most, all those double-stops and runs were moving. In my own mind, Mozart is so obtuse, but not last night.

Following intermission was Shostakovich’s 5 th which I approached with a biased attitude. My familiarity with Shostakovich is limited. A friend once tossed a few recordings of his 14th at me, which I didn’t like much. He and Mahler wear the same warnings in my mind: “Proceed with caution.” Of course, I learned last night that those labels are unwarranted. The fifth was so accessible, so gorgeous.

I love feeling like a composer has crafted something without falling back on the usual musical structure like the melodies in the third movement. Everything note felt integral and carefully placed as I was carried through that movement.

Juxtaposed with the “struggle” and bleak first and second movements, it was a great journey for the ears. By the fourth movement, I felt the MSO had reached “it”–that special moment in a concert hall where things just can’t get any better.

The whole balcony was on their feet at the end (me included, and I’m usually too lazy for standing ovations). I left discussing the music with my mother as we walked down the balcony stair. I wanted some profound words for my last MSO concert, but none come to me—even now.