Stupid idea: the permasequel
Matt Haughey
174

Some organizations are already there; every Symphony Orchestra (if a city is lucky enough/rich enough to have one) plays the same repertory every year, sometimes with guest conductors, concerti with new soloists, and only the very rare piece of new music (because audiences almost never like anything new). Everybody argues about what year they heard the best performance of Dvorak’s New World Sympnhony or Mahler’s 8th, which soloist did the best job at the Rachmaninov 3rd piano concerto, etc. I can’t that this approach — which is essentially extreme risk aversion — actually works in terms of ticket sales. Classical music isn’t exactly thriving, but some always complain of the lack of innovation in programming.

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