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Last month at Royal Albert Hall, a capacity audience of 6,000 cheered and applauded wildly at the European premiere of Scottish composer James MacMillan's stirring Third Symphony. A few days later, John Adams's European premiere of "On the Transmigration of Souls" received a similar reaction. Afterward, the London newspapers raged with debate about the musical merits and overall morality of Adams's work, which includes text from missing-person posters put up in New York after 9/11 and a list of names of the dead. Could it be that contemporary classical music has finally found its niche? Not likely. This particular moment in the spotlight will probably last only as long as ...