Conductor John Myers — straight out of «downtown New York central casting, circa 1984,» according to one pal — summoned an at - times - unholy noise from the six hundred assembled strings, and the music's power conjured a litany of metaphors, all describing moments verging on abandon: His
calisthenic conducting elicited a tidal surge of synchronized nodding heads; the performers then
inspired him to feats of excitement that could compete with Christian - revival praise dancing; his attempts to rein in the players for quieter passages gave the impression of a lion tamer placating a feisty animal.