I lament along with the contributors to this thread the neglect of worthy
music.  But the numbers are daunting:

---Cost of performance
---Tens of thousands of composers
---Few gatekeepers determining repertoire

Of the three items, it's the gatekeepers that should be getting the focus
of our attention.  Who are they for the most part?

---Conductors
---Famous soloists
---Executive Directors and others interested in financial success

How many of these gatekeepers are truly exposed to the vast range of
repertoire out there?  They're too busy doing other aspects of their
jobs to do a thorough and fair review of the possibilities.  Nor is there
any reward for doing so.

I spent weeks researching how repertoire was determined by SF Bay Area
symphonies for an article, and was dismayed to discover how rarely any
suggestions reach these gatekeepers from the public, nor are they expected
to.  What unusual repertoire is ever selected is determined more by
chance and poliltics than anything else.

I suggest we turn the laments into action: form a lobbying organization
that roots out these gatekeepers, pesters them with cogent repertoire
suggestions (accompanied with appropriate marketing material), and
attempts to raise the consciousness of the concert-going patrons as to
the role they can play in the process.

With Karl as President.

Jeff Dunn
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