# Concert Programing around the workld



## drpraetorus (Aug 9, 2012)

I have some thoughts running around in my head and need some information to help things gel. 

Regarding concert programming in non U.S. countries; do concert programmers in Germany, for example, program more compositions by German composer over non German composers? Or French for French audiences or Russian for Russian audience etc.? 

I have not had the chance to attend "foreign" concerts so I must ask those to whom such concerts would be more accessible. My feeling is that there would be a preference for "native" composers. Being as the audience would share the culture and history of the composer, it would seem to follow that there would be a more immediate and deeper appreciation and communication. 

I do know that if you want to see Russian opera on anything resembling a regular basis, you don't go to the Met. 

On the other hand, programmers her in the U.S. tend not to program American composers. Especially pre Copeland composers.


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## DrKilroy (Sep 29, 2012)

I do not know how frequently foreign philharmonies program Polish composers' works, but Polish philharmonies (at least the Warsaw one, which I attend regularly) program quite many Polish pieces. For example, in the current season's programme, there are 8 works by Lutosławski (6 of them in the Lutosławski Year), 2 works by Górecki, 3 works by Szymanowski, 4 works by Panufnik and several works by other composers, like Penderecki, Paderewski, Chopin, Wieniawski, Meyer, Rowicki etc. 

Best regards, Dr


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## ptr (Jan 22, 2013)

I think that Germanic repertoire is overwhelming among Swedish Orchestras!

I made a quick survey of the program of my previous home orchestra, The Gothenburg Symphony and of 66 works they play the 13/14 season exactly 50% are by more or less known German or Austrian composers (33), 5 each by Russians or Finns and a whole 8 by Swedish composers, 4 by US composers, 3 by British, 2 each by French (sorry Honegger!) and Dane's and one each from, Estonia, Korea, Czechia and China.
+ the fact that almost half of the non Germanic works played are 15 minutes or shorter...

/ptr


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## PetrB (Feb 28, 2012)

Any of the orchestras from the social / democratic nations can be expected to program the music of their local sons and daughters to some degree, and fairly regularly. National pride has some to do with it (especially if programming older works in public domain), but also the pragmatic fact that so much of the training of that nations composers, and some of their later working time and commissions, are paid for in one way or another by the working inhabitants of that nation. 

(I'll leave it to another to whip up the mini-thesis which argues that the idiosyncratic rhythmic and interval content of the music by the local composer somehow resonates with the locals because it stems from the spoken language of the place.)


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