The work’s youth become it: the piece is a freshly-minted sensation, actually written for Academy faculty pianist Connor Hanick. Textural surprises line the path of No Such Spring, as when two harps suddenly issue forth a strumming part. In short, No Such Spring has staying power, and deserves the same on concert stages everywhere. But the primary takeaway from Saturday was all about Adams (and Hanick, by extension). Saturday’s lesson in Santa Barbara: the seductive, propulsive minimalist beat goes on, in the hands and minds of younger, productive contenders.