Stirling replies that it *is* the 12 Monkeys:

>Unfortunately for classical music, far too many of our important decisions
>are arrived at behind closed doors, by self-selected, self-perpetuating
>groups of individuals, who act with great regard for their own careers,
>and little regard for art.

Even if this is so, you're observation doesn't stand up as you are
presupposing that nothing worthwhile goes on beyond the halls of the "those
behind closed doors".  The music of Boulanger made its rounds as performed
by the Women's Philharmonic

(who?)

before it was mass-marketed by name-branders.  And how do you explain my
symphony's 2001-2002 season? (See post:  "Those Whacko Californians") Some
of the names on there are so obscure to me, I don't even know whether the
composer is male or female.  Very risky programming with great regard for
new art.  But is there *really* a conspiracy at the Top?

An illuminating report from the gay studies desk:

Carnegie-Melon did a study to see if gays really are the wealthy, two
income, no children households with lots of disposable income kinda people
that some have come to think that they are.  CMelon found that gay males
surveyed actually make less than straight males.  Discrimination? No:  gay
women make more than straight women.  Among the conclusions:  Gay males
might *choose* to enter risky or low-paying professions because they aren't
faced with the frightening expenses of raising a family.

If anything is hurting the arts, maybe it's real estate agents that
convince people that they need an eight-bedroom house and the horrendous
mortgage.  Maybe this is what Wagner was talking about when Alberich gives
up Love for gold.

So I don't blame the big leaguers for not taking risks and instead serving
up "safe" dishes, including those of the "accessible" Modernists.  If I
knew my musicians had to rely on box office receipts to feed their kids
and make a house payment, I'd be pulling out the Beethoven and Nyman too.

It's not conspiracy, it's fright.

I agree with Steve as he points out that "real" activity happens on the
fringes.  It's no accident that my innovative Camellia Symphony is made up
of mostly non-paid people like me, and housewives, college students, active
and retired music teachers, prodigious high-school instrumentalists, etc.
We in the farm league can afford to take risks--to play Stirling's 1st
Symphony if Stirling would send it to me.  (Otherwise is your posting just
invidious?)

John Smyth
Sacramento, CA