I would venture to say that designing programs that appeal to
general audiences is somewhat down the priority list of major orchestras.
Programming is influenced more strongly by other, political factors, e.g.,
repertoire of hired soloists, friends of the conductor, influential
patrons, etc.  Not to mention that it's much harder for musicians to
learn a series of new works when they can more easily breeze through
Brahms' Fourth for the millionth time.  I seriously wonder if some
orchestra members would balk if one of the Listers here magically became
a music director and began foisting tons of new music on them.  Even if
all musicians loved new music, additional rehearsal time would have to be
paid for.  It's more cost-effective to insert war horses so the rehearsals
can concentrate on fewer new works.  The problem of one work of interest
sandwiched between the all-to-familiar has kept me from subscribing to the
San Francisco Symphony for years.  Furthermore, when commissions are by the
minute, it's cheaper to pay for a 10-minute piece than go all out for a
gut- wrencher like the Petterson 7th; then you fill the rest of the program
with public domain.

As for the fine list of works worth investigating, I would remind readers
that a few of the works on it have been receiving live performances.
The Blacher Paganini Variations have been programmed throughout the U.S.
in the past three years.  Floyd's "Susanna" is one of the most popular
American 20th-century operas.  They're doing it here in the Bay Area in
the next few weeks.

Jeff Dunn
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Alameda, CA