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It’s time to stop talking about James Levine’s comeback. After a scintillating return to Carnegie Hall in May and a fleet, immaculate Così fan tutte at the Metropolitan Opera in September, Levine has proven what he never really had to: his powers have not waned in his absence from the podium. Given sensible scheduling and interesting repertoire, we can focus once again on his music-making.

Inspiration for a composition can come in many forms; a letter from Clara Schumann, the brutality of Stalin's police, growing deaf or hearing birdsong. The final concert of John Adams’ short residency at the Barbican focused on a more reverent strain of influence, however: the peculiar tendency for living composers to want to reference dead ones.