Jaren Hinckley

(1899-1963)

 

Listen to this sound:

 

 

There is something so chilling about that sound…  the sound of the guillotine.

 

This is from a certain recording of one of my favorite pieces of music.  Poulenc is one of those composers who is almost always in my “top ten favorite composers” list.  Part of the reason for that is the final scene of his best-known opera “Dialogues des Carmélites.”  I’ve never seen this opera live, but I just listened to it from start to finish (over the course of several days) and I loved it.  Loved it, loved it, loved it.

 

TITLE:  Dialogues of the Carmelites

 

The basic story line is as follows:

During the French Revolution, an aristocratic young woman decides to become a Carmelite nun (Sister Blanche) because she believes she will be safer there than in her home, despite the fact that the revolutionaries are not only anti-nobility, but are also anti-cleric.  The mother Superior explains to Blanche that she is not necessarily out of danger by joining the holy order.  But Blanche feels that she is in the right place.  As the revolution escalates, the nuns realize that they are indeed in danger and they decide to take a pledge of martyrdom (as opposed to hiding).  They all take the pledge, but Blanche runs away and takes a job as a servant (again, to hide).  The nuns are all arrested and condemned to death.  At the execution, the nuns are executed one by one.  At the last minute, Blanche shows up and takes her place with the nuns.  As she climbs up onto the scaffold, she sings the Catholic hymn traditionally used when taking vows in a religious community and offering her life to God.

 

HIGHLIGHT:  The final scene, of course.  I find the faith of the nuns inspiring, especially in the face of certain death.  And musically, it is amazing.  You hear the nuns begin to sing the “Salve Regina” as they, one by one, climb the scaffold to face the guillotine.  Each time the guillotine falls, one less voice is heard.  The choir gets smaller and smaller until only a few nuns are left, then two, then Blanche.  Depending on the recording, the effect is quite harrowing, especially if they include a convincing “blade” sound.

Here are some links to YouTube videos that are good (for different reasons):

 

In this one I really like the singers voices.  Plus, I think the stylized deaths are effective (but I prefer to see a little more literal interpretations).  Start it at about 2:50.

https://www.youtube.com/watch?v=e2ubBODy4N0

 

This one is definitely more literal in its depiction, the sound effect is good, but the light effect is not great.  Start it at 3:24

https://www.youtube.com/watch?v=mkOK3aXzMpc
There are a few full length versions of the opera, but none had English subtitles.

 

Take a listen!  It’s totally worth it.  (My kids get mad at me when I play it in the car.  Last time I started it, one of them said, “Dad, I don’t want to hear a bunch of nuns get killed!”)

 

WHAT’S LEFT TO LISTEN TO BY POULENC?:  Tons, but, since he’s in my top ten list of favorite composers, I’m sure I’ll succeed at listening to them all.

 

 

(1845-1924)

 

TITLE: Pavane, Op. 50

 

I chose the subject for this post for a couple of reasons—one, it’s simply a lovely piece that is emotionally expressive; and, two, it’s an ear bug.  For those of you who may not know what I mean by “ear bug,” I will happily explain.  An ear bug is different from an ear worm.  An ear worm is a melody that you cannot get out of your head.  I invented the term “ear bug” to refer to music that SOUNDS like another piece of music, but there’s likely no real connection between the two pieces (or, in other words, I don’t believe the latter composer copied the former—it’s just happenstance).  Today’s ear bug is the theme music to the Disney Channel animated kids show “Gravity Falls.”  My kids have been obsessed with this show lately so I hear the theme song a lot.  Every time the main melody begins I can’t help thinking of Faure’s Pavane.  Again, I am not making the assertion that the composer of “Gravity Falls” was copying Fauré.  In fact, I’m positive it’s merely coincidence.  Here are some silly examples of how I hear it every time my kids watch the show.  Here’s the beginning of the theme song:

And here’s the part that is the ear bug (repeated four times, so that it really gets stuck in your head!):

Here’s the opening of Faure’s pavane, performed by orchestra (first example is a slow tempo performance, and the second example is a faster tempo):

And here’s a mash-up of “Gravity Falls” and Faure’s “Pavane.”

You’re welcome!

 

DESCRIPTION OF THE PIECE:

Fauré’s Pavane is slow, beautiful, and emotional.  Although Faure originally composed the piece for solo piano, it is much more famous for his orchestrated version. Here’s a link to a Youtube video of an orchestral performance:

 

 

If you search for it on Wikipedia you will see how frequently it has been co-opted by pop culture.  It’s really popular!

http://en.wikipedia.org/wiki/Pavane_(Faur%C3%A9)

 

 

HIGHLIGHT:

 

For me, the highlight is not necessarily the beautiful main melody that repeats many times throughout the piece, but is actually when that melody has harmony added to it.  It heightens the emotion of the melody and pulls the listener into the beauty of it.  And because this piece is so popular, it has been arranged and transcribed for other instrument combinations.  Here are a few brief examples:

First, the original version, for solo piano:

Then an arrangement for cello:

And an arrangement for viola:

And an arrangement for oboe (I am particularly fond of the oboe!):

 

WHAT’S LEFT TO LISTEN TO BY FAURE?:

A huge amount of music, but I’ll get to it!

(1923-2006)

 

György Ligeti was born in Transylvania on May 28, 1923.  So…Happy Birthday, Ligeti! If he were alive today, he’d be 91.

 

Ligeti is best known for his unusual effects like this (from a piece called “Lux Aeterna”):

 

 

Of this type of music, he said:  “My idea was that instead of tension-resolution, dissonance-consonance, and other such pairs of opposition in traditional tonal music, I would contrast ‘mistiness’ with passages of ‘clearing up.’”

 

Here’s another example of this type of music, from his piece for orchestra entitled “Atmospheres.”

 

As a woodwind player, I first became acquainted with the music of Ligeti through his most-played wind quintet piece—

TITLE: Six Bagatelles

DESCRIPTION OF THE PIECE:

This piece (composed about ten years before “Atmospheres” and “Lux Aeterna”) does not feature his “mistiness moving towards clearing up;” instead, it’s more traditional in terms of tone color usage.  However, the way he uses the tone colors of the wind quintet is quite interesting. Sometimes you forget that you’re listening to a mere five instruments.

 

Here is a link to a fantastic YouTube video of a group that understands the importance of appearance when performing.  Note, they are standing, they are active, they are not using music stands, they are choreographed—it is extremely engaging and exciting to watch.

I. Allegro con spirito (fast with spirit!)

This movement is fast and virtuosic and JUST about dissonant enough to offend the ear (if you abhor any sense of dissonance) but not quite dissonant enough to turn the average listener away.

II. Rubato. Lamentoso.

2^nd movement starts at 1:34 in the video.    Note at the ending we get a hint of what he achieved with his later works when the last dissonant chord “clears up” into a major chord.

III. Allegro grazioso

 

3^rd movement starts at 4:34 in video.  Note that the clarinet and bassoon begin by passing off septuplets (seven notes to a beat) while a lovely, almost Celtic-sounding melody floats on top.  The instruments switch roles here and there so that the overall effect is almost orchestral.  One of my favorite movements to listen to (Note: I said “listen to”; I don’t enjoy playing it—those septuplets are deadly).

 

IV. Presto ruvido

 

4^th movement begins at 6:54 in the video – fast and very difficult to put together as a group.  Every so often Ligeti changes the meter so that a single sixteenth note will be left out which means everyone has to be superb at changing meters, or very adept at “skipping” a note.

 

V. Adagio. Mesto – Belá Bartók in memoriam

 

5^th movement begins at 8:02 in the video – very much like a funeral march.

 

VI. Molto vivace. Capriccioso

 

Final movement begins at 10:24 in the video – another extremely difficult and fast movement for a group to put together.  Overall this is an astounding piece and the group in this video is amazing.

 

HIGHLIGHT:  As I mentioned above, I’m quite fond of the third movement.

 

As you may know about me, I enjoy taking photos of famous composers’ graves, statues, homes, etc.  And usually I like to be seen popping out from behind the tombstone in my photos.  That might sound irreverent or disrespectful, but I prefer to think of it as taking a candid playful photo with a friend.

 

When I first saw Ligeti’s grave in Vienna, Austria, I wasn’t sure how to hide behind the tombstone.  Here it is:

 

 

 

 

 

 

But I think I managed quite nicely.

 

WHAT’S LEFT TO LISTEN TO BY LIGETI?:  A lot, but I’ll do it!

 

(1685-1759)

 

A few weeks ago was Easter, so I guess the resurrection was on my mind.  In addition, the Mormon Tabernacle Choir had just broadcast a pretty great complete performance of Handel’s “Messiah.”  So I decided to check out another oratorio by Handel that he wrote earlier in his career.

 

TITLE: La Resurezzione

 

DESCRIPTION OF THE PIECE:  This is one of Handel’s many oratorios (the most famous of them—“Messiah”—seems to have eclipsed all his other oratorios).  It is in Italian, which is already noteworthy since Handel spoke German and his best-known work is in English. This was the 2^nd oratorio Handel composed, written in 1708 when he was 23 years old.

This oratorio depicts the events occurring between, and including, Good Friday and Easter Sunday. The characters in the oratorio are Lucifer (bass), Mary Magdalene (soprano), an Angel (soprano), St John the Evangelist (tenor), and St Mary Cleophas (alto).

 

There is a really cool YouTube video of the entire work (and if you click on the “See More” tab underneath the video, you’ll see a listing of all the individual sections within the oratorio with timings).  It appears to be using period instruments (recorders, gambas, etc.)

Sadly, this video does not have subtitles, but who needs ‘em.  Just sit back and enjoy the music.  It’s pretty astounding.  Here’s the link for the video:

 

 

And if you like to follow along with the score, try this link:

 

http://javanese.imslp.info/files/imglnks/usimg/0/0c/IMSLP18901-PMLP44669-HG_Band_39.pdf

 

It opens with an overture that features quite a bit of imitative polyphony and there are moments in it that sound like Vivaldi (but maybe I’m just thinking that way, since the oratorio is in Italian), but there are also definite moments that sound very much like Handel.

 

The first aria is quite amazing; here’s just a brief clip:

If you liked that, you’ve got to watch the entire aria.  Use the YouTube video link I provided above; start the video at 4:45.  She sings the extremely fast melismas effortlessly and when the da capo occurs (at 7:30) she sings the same melismas AND she improvises extra notes, different melodies—it’s great.  She’s great.  Seriously, watch this number, then continue to watch the entire oratorio. It’s worth it.

 

HIGHLIGHT:

One of my favorite arias in this oratorio is sung by Mary Magdalene.  Here is the English translation of the words:

 

Fold thy wings, and o’er my eyes fly not, unwelcome sleep!

If thou wouldst presume to dry my tears of sorrow let me first weep as full a stream as that shed by my God in blood when He died for me.

 

It’s a lovely message of the atonement that Christ undertook for us all.

 

So here is the first A section (follow along with the score—link above; p. 18 in the score/p. 36 in the pdf)

 

And here’s the second A section.  In the Baroque Era, it was important for the singer to improvise extra notes, ornamentations, trills, runs, etc. during the second A section.  In this example, she doesn’t do much (you can follow along with the score again to see what she DOES add);

 

She didn’t do much beyond a few tiny little ornaments/grace notes.  But then I found another recording in which the singer does a LOT with the second A section.  Check it out (and follow along with the score to see how much she adds!).

Amazingly cool!  If you’d like to hear a third version, check out the YouTube link (above) at 22:53.  This performance is at a faster tempo and she does do some cool improvising on the 2nd A section.

WHAT’S LEFT TO LISTEN TO BY HANDEL?  Oh my, tons.  But I’ll do it!

(1881-1945)

 

TITLE: The Wooden Prince

 

DESCRIPTION OF THE PIECE:  This is a short ballet (about an hour) with a fairly normal fairy-tale story.  Here it is: while walking through the forest a handsome prince spies a princess dancing and falls in love.  A fairy nearby doesn’t want him to fall in love with the princess, so she causes the various parts of the forest to come to life—trees, the river, etc.—to convince the prince to stay. When the prince can’t get the princess’s attention, he builds a wooden dummy that looks like him.  It comes to life and she falls in love with it.  Then it breaks and she sees the real prince, who is sad that she fell in love with the dummy and not him.  She consoles him and the ballet ends with the two of them falling in love.

 

Yep, it’s a tad odd.  But when you think about it, it’s not outside the realm of normal fairy tale weirdness either.

 

In the “Dance of the Waves” section, there is a moment where the saxophone plays a soloistic role (something relatively rare in classical music).  Most professional orchestras don’t even bother to keep a saxophonist on their roster—they just hire them as needed–that’s how rare saxes show up in classical music.

Here’s the part featuring alto sax and tenor sax in octaves:

 

 

I also enjoyed the “Dance of the Princess and the Wooden Prince.”  I enjoy the rapidly changing moods throughout.  Here’s an excerpt (you’ll hear at least five or six different themes/moods):

 

 

The opening of that excerpt reminded me of another ballet—“Gayaneh” by an Armenian composer, Aram Khachaturian.  See what you think…This excerpt first plays the part from Bartok’s ballet, then Khachaturian’s, then back and forth one more time.

 

 

Hmmm…I wonder which one came first?

 

HIGHLIGHT:  For me, the opening few minutes are enchanting and magical.  Then again, perhaps I always feel that way with any quality piece of music when I’m listening to it for the first time.  In this case, the hushed strings, plucked harp chords, and mellow trombone solo, make me feel as though I’m right there in the enchanted forest. Here’s an excerpt:

 

 

The music is so lovely throughout, I’m not sure why this isn’t performed more frequently.  Seek it out and listen to the entire thing.

 

WHAT’S LEFT TO LISTEN TO BY Bartók?: a lot, but I’ll do it!

 

(1809-1847)

 

For faithful readers of this blog, you may recall that I focused on a piece by Mendelssohn this past December. Here we are in February with another piece by Mendelssohn!  The reason I chose to focus on Mendelssohn is because his birthday is this month (Feb. 3, 1809).  Happy 205^th birthday, Felix! For today’s piece, I’m focusing on one of my absolute favorites by Mendelssohn.

 

TITLE:  The Hebrides Overture “Fingal’s Cave,” op. 26

 

DESCRIPTION OF THE PIECE:  This piece is what is known as a “concert overture”—a single-movement orchestral piece of program music.  The program of this piece is based on Mendelssohn’s own visit to the Isle of Staffa (off the west coast of Scotland). Staffa is part of a group of islands known collectively as the Hebrides (pronounced Heb’-ruh-deez) made of unusual geometric rock columns formed by volcanic activity. To get to the island, you need to charter a boat during good weather.  Because of the unusual make-up of the island there is no gentle beach on which to leave the boat.  You have to take the boat up close to the rock columns (sticking out of the water) and climb out directly onto the rocks.  If the weather is bad, the water would be too choppy and would crash the boat into the rocks.  On the island there is a large cave which, due to the unusual rock formations, has an unearthly quality to it. The music effortlessly conjures images of the ocean, the rise and fall of the boat as it approaches the island, and the unusual beauty of the island itself.

 

Here’s a YouTube video of the entire work:

 

 

And here’s a YouTube video of the entire work playing on top of someone’s travel footage (not mine, sadly), including the ambient sounds of the ocean, the boat, etc.

 

 

HIGHLIGHT:  The powerful programmatic elements.  I’ve never been to Staffa, but it’s not for lack of trying.  When I was living in Scotland (from 1988-1990, serving an LDS mission), I never had the chance.  When I returned to Scotland on vacation with my parents in 1996, we planned to go, but it was raining and no boats were willing to take us on a rainy day (unsafe).  When my wife and I were there in 2000, we headed towards Oban (where we would catch a boat to Staffa) but it was raining and we knew our chances were not good.  However, we noticed on the map that there was at least ONE island (Skye) that was close enough to the mainland that they had built a bridge to it.  So as we drove across the bridge to the Isle of Skye, I wistfully hummed the melody of this lovely piece by Mendelssohn.  Not quite the same thing as being on a boat, but it had to suffice.  Someday I’ll get to Staffa…(sigh)  Maybe next year…

 

WHAT’S LEFT TO LISTEN TO BY MENDELSSOHN?:  With over 100 opus numbers, I’ve got a ways to go!

(1916-1983)

 

This past summer, my wife and I had the opportunity to travel to Italy.  (I was performing at a conference there.) On route from Assisi to Rome, there was a relatively obscure, off-the-beaten-path sculpture garden called “Sacro Bosca” (literally “Sacred Grove”) in a small town called Bomarzo. The sculptures were carved in the 2^nd half of the Renaissance (late sixteenth-century).  Here’s a brief video of my wife at one of the carvings:

 

 

This past week, I stumbled upon an opera by Alberto Ginastera connected to Sacro Bosca.

 

TITLE: Bomarzo

 

This opera is unrelentingly depressing.  Here’s the basic plot:

Pier Francesco Orsini (a hunchback), the Duke of Bomarzo, has a drink that his astrologer told him was a magic potion that would make him immortal. However, the drink turns out to be poisoned. After the poison starts to work, Bomarzo reflects upon his life in a series of flashbacks.  They are all depressing:

• His father drags the young Pier Francesco into a room where a large skeleton dances and haunts him.
• His father falls in battle.
• He visits a courtesan but keeps catching sight of his deformed body in the many mirrors in her room.
• His brother falls from a cliff and dies.
• His wife likes another man more than him.
• He becomes impotent.
• He has large stone sculptures carved on his estate, symbolic of his tortured feelings. (By the way, there is no evidence in reality to support this statement.  In reality, he had them carved to entertain visitors to the estate).

After all the flashbacks, we see him drink the poison (again) and he dies in the mouth of one of his sculptures.  Maybe this one?

 

 

So if it is indeed unrelentingly depressing, why would I bother listening to it?  Because Ginastera wrote some cool music and used some unusual techniques—for example, a harp tuned to quarter steps:

 

Most of the opera sounds like the following:

 

 

Not the most appealing music, in my opinion…

For me, the most interesting music is at the beginning of each act, like the harp example above.  Also, in the 2^nd act opening, there is a brief section where a cello (or viola?) plays a dissonant “modern” melody with the quarter-tone harp, but then the harp is replaced with a mandolin and then with a harpsichord.  I wonder if Ginastera’s intent was to reflect the time period in which the opera was set by his choice of instrumentation.

 

 

HIGHLIGHT: Also in the start of the 2^nd act is a moment where Ginastera wanted to have the spectre of death loom over the proceedings (in a musical way), so he uses the famous “Dies Irae” melody to great effect.

 

Here’s the original Middle Ages plainchant

 

 

And here’s how Ginastera quotes it in “Bomarzo.”

 

 

 

WHAT’S LEFT TO LISTEN TO BY GINASTERA?:  An extraordinarily large amount, including film scores.  I’ll do my best…

(1899-1963)

 

Happy Birthday, Francis Poulenc!  Born 115 years ago today!

 

I’m a huge Poulenc fan.  Here I am at his grave in Paris.

 

His slow movements often bring me to tears because there’s such a strong sense of melancholy and loss or joy and love.  His fast movements are shocking and filled with energy.  When I was a young player first learning Poulenc’s Sonata for Clarinet and Piano, I found it dissonant and jarring, but exciting.  Now it remains one of my favorite pieces for clarinet, period!  However, I have to say that my favorite work by Poulenc is his…

 

TITLE: Sonata for Oboe and Piano.

 

Here’s a link to the entire work:

 

http://www.youtube.com/watch?v=hY1j_DJDOf8

 

Even if you only listen to the first 60 seconds or so, I predict you’ll hear the immense beauty in this work.

 

The fast and exciting 2^nd movement begins at 5:09.

 

HIGHLIGHT:  For me the opening of the first movement is the highlight.  I melt upon hearing it every time.  The other highlight is the third movement.  Skip ahead to 9:05 on the YouTube clip and listen to the first 60 seconds and hopefully you will weep with joy.

 

WHAT’S LEFT TO LISTEN TO BY POULENC?:  Tons, but, since he’s in my top ten list of favorite composers, I’m sure I’ll succeed at listening to them all.

(1809-1847)

 

For my final December-themed blog post of 2013, I chose a set of choral works by Mendelssohn collectively titled…

 

TITLE: “Sechs Sprüche für das Kirchenjahr, Op. 79” (Six Maxims for the Church Year).

 

DESCRIPTION OF THE PIECE: These six brief choral works (all under two minutes) focus on six important days in the church year—Christmas, New Year’s Day, Ascension Day, Passiontide, Advent, and Good Friday. Each ends with the word “Hallelujah.” Upon first listening, these could be mistaken for a cappella works from an earlier time period, however, there is just enough pleasing dissonance to pinpoint the composition as being from the Romantic Era.

 

HIGHLIGHT: Appropriately enough for the current time of year, the highlight for me is the first piece in the set–“Weihnachten” (Christmas).  Here is the text (first the German, then the English translation):

 

Frohlocket, ihr Völker auf Erden, und preiset Gott!

Der Heiland ist erschienen, denn der Herr verheißen.

Er hat seine Gerechtigkeit der Welt offenbaret.

Halleluja!

 

Rejoice, ye people on earth, and praise the Lord!

The Saviour has appeared, whom the Lord has promised.

He has manifested his justice to the world.

Hallelujah!

 

As you listen, notice the cool dissonance that occurs on the first syllable of the word “preiset.” After that, the words “Herr,” “Gerechtigkeit” and “Welt” have the most glorious rich harmonies. (Especially the 2^nd syllable of “Gerechtigkeit”!) Enjoy!

 

I found some fun YouTube videos of all six pieces where you can follow along with the score (but I’m less fond of the choir on these videos than of the example above).  Here are the links if you’re interested

Christmas: http://www.youtube.com/watch?v=jQWPhghoE5g

New Year’s Day: http://www.youtube.com/watch?v=lIkvP7qhA_Y

Ascension Day: http://www.youtube.com/watch?v=xSPYE8iXsmw

Passiontide: http://www.youtube.com/watch?v=dGEcVlwiCZ8

Advent: http://www.youtube.com/watch?v=l2eE4DY7u7c

Good Friday: http://www.youtube.com/watch?v=HHn0SfNvQE8

 

WHAT’S LEFT TO LISTEN TO BY MENDELSSOHN?:  With over 100 opus numbers, I’ve got a ways to go!

 

 

(1803-1856)

 

 

 

Me and my youngest at Adam’s grave in the Montmartre Cemetery, Paris, France.

 

“Who?” you might be asking. Adolphe Adam was a Romantic Era composer best known for his ballets and operas.  His most famous ballet is Giselle, which is still performed with regularity throughout the world.  Here’s a little snippet of that (so you can hear that it’s pretty cool). This excerpt is called “Retour de la vendange” (The Grape-Pickers Return) and is from Act I.

 

Or if you want to see some (or all) of it, go to YouTube and type “ballet Giselle” in the search box.  Here’s a link to the complete ballet: http://www.youtube.com/watch?v=DT4C5Sc8geA

If you read the uploaders comments you’ll find the entire plot of the ballet.

 

BUT, the reason I chose to look Adolphe Adam’s music this week is because his MOST famous composition of all time is:

 

TITLE:  Cantique de Noel

 

DESCRIPTION OF THE PIECE: This piece is most commonly referred to as “O Holy Night.” Despite the fact that it is overplayed and often poorly-performed, I like this carol a lot.  I think it is quite beautiful.

 

Here is the more literal translation of the original French text (I think you’ll see that it’s quite moving, and perhaps even more powerful than the usual, more poetic, English translation):

 

Midnight, Christians, it is the solemn hour,

When God as man descended unto us

To erase the stain of original sin

And to end the wrath of His Father.

The entire world thrills with hope

On this night that gives it a Saviour.

People kneel down, wait for your deliverance.

Christmas, Christmas, here is the Redeemer,

Christmas, Christmas, here is the Redeemer!

May the ardent light of our Faith

Guide us all to the cradle of the infant,

As in ancient times a brilliant star

Guided the Oriental kings there.

The King of Kings was born in a humble manger;

O mighty ones of today, proud of your greatness,

It is to your pride that God preaches.

Bow your heads before the Redeemer!

Bow your heads before the Redeemer!

The Redeemer has broken every bond:

The Earth is free, and Heaven is open.

He sees a brother where there was only a slave,

Love unites those that iron had chained.

Who will tell Him of our gratitude,

For all of us He is born, He suffers and dies.

People stand up! Sing of your deliverance,

Christmas, Christmas, sing of the Redeemer,

Christmas, Christmas, sing of the Redeemer!

 

For a contrasting opinion, please read this–http://www.signifyingsoundandfury.com/2013/12/why-i-dont-like-o-holy-night.html

written by my friend and former student, Peter Shirts. I agree with his reasons for not liking it, but I still like it!

 

HIGHLIGHT: It’s a relatively short piece, so I guess the highlight is simply when it is performed well, for instance, in this church service, during communion, at the Liverpool Metropolitan Cathedral.  The first boy soprano soloist is particularly impressive.

 

http://www.youtube.com/watch?v=D5YJASeJ_hQ

 

WHAT’S LEFT TO LISTEN TO BY ADAM?:  Fourteen ballets and over 70(!) operas.  I’ll work my way through them over time…