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 [log in to unmask] *********************************************** The CLASSICAL mailing list is powered by L-Soft's renowned LISTSERV(R) list management software together with L-Soft's HDMail High Deliverability Mailer for reliable, lightning fast mail delivery. For more information, go to: http://www.lsoft.com/LISTSERV-powered.html