The Golden Gate Act I Scene 2 Part 1 With Orchestra

Eros And Psyche Act 1

       (A garden in Psyche’s palace. A fountain. Psyche alone.)
PSYCHE
       (spoken)
Why do they only stare, these men who come from everywhere? Why do they look wide eyed and mouth agape, then catch themselves and recite orations and lay flowers at my feet—and leave stunned? Who can talk with a stunned man?
       (recit.)
They all admire me from a distance, but none comes near, none talks to me, none will sit beside me, none walks with me in the cool of the evening in this beautiful garden, none whispers in my ear, none is tender, none holds me in his arms. All I want is a fine true man to be my lover and husband.
        (aria)
None comes, none comes, none comes. 
They admire me but pass me by.
	(Psyche’s two sisters pass, each with a suitor on her arm)
My sisters have tender attention
From kings and princes
        (Sisters and suitors bow reverentially to Psyche, then continue their stroll and exit.)
But none dares come near me, do I scare them?
Am I so frightful?
I may well be the most beautiful woman 
In all the world, 
But must I also be the single most lonely?
Then what is this beauty worth?
None comes, none comes, none comes. 


Psyche's Aria From Eros And Psyche

Music by Conrad Cummings, Lyrics by Vikram Seth; Cummings Ensemble; Dora Ohrenstein, soprano; Larry Adams, baritone

“Soon” from “Insertions"

Music by Conrad Cummings; Daniel Gremelle, soprano saxophone; Angeline Pondepeyre, piano

The Passing Months, Excerpt, for Soprano Sax and Piano

The Passing Months, for Soprano Saxophone and Piano

A Fantasia on Roller Derby Themes, Music by Conrad Cummings

In Memoriam Marge Laszlo, Excerpt

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I WIsh They All Could Be. . . Excerpt

I Wish They All Could Be. . .

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Denouement For Orchestra, Excerpt

Denouement For Orchestra

Music by Conrad Cummings, Oberlin Conservatory, Peter Kramer and Justin Murphy-Mancini, harpsichords

Denouement for Two Amplified Harpsichords, Excerpt

Denouement for Two Amplified Harpsichords

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Zephyr's Lesson, Excerpt

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Conrad Cummings

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