# What is the Process of Becoming Standard Repertoire



## 20centrfuge (Apr 13, 2007)

I've been wondering - how does a new piece of music come to eventually be considered standard repertoire? I am sure there are many factors and I don't believe there is a definitive list of standard repertoire, but still...

For example, I am led to believe that John Adams opera "Nixon in China" is now considered standard repertoire in the opera world, whereas none of his other operas have reached that status. Is it because of the number of times that Nixon has been programmed by revered opera institutions such as the Met and others? Is it because of critical acclaim? Is it because of the press it received following it's premiere? Is it a more vague process of getting distilled in the court of public opinion as being a "great" work?

Another example is Prokofiev's Symphony no. 5 vs Symphony no. 6. His No.5 is considered standard repertoire. It was a work that was vigorously promoted by the Soviet machine shortly after it's premiere. A work of hope and an example of greatness of the Soviet Regime. Prokofiev even made the cover of the USA's Time Magazine. 

On the other hand, Symphony 6, which many believe to be as good as no.5, if not better, has languished in relative obscurity. It is a work that is more the product of a frustrated, sad, or disillusioned composer and was, seemingly, shoved under the rug by the soviet propaganda machine. The work seems to have never fully recovered from the impact of it's initial reception by the Soviets and consequently the world at large.

This makes me think that the "splash" that a work makes initially is a very important ingredient to it's eventual fate as standard repertoire. 

Please weigh in and let me know your thoughts on this matter.


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## KenOC (Mar 7, 2011)

My understanding is that "standard repertoire" means simply works that are often programmed and performed. The mechanism is simple, at least for orchestral works: If it sells tickets and put bums in seats, then it gets programmed a lot and becomes standard repertoire. Pieces enter and leave the repertoire regularly as tastes change. There's no authoritative list SFAIK.

BTW I think Prokofiev's 6th is in fact in the repertoire, much good it did poor Prokofiev. It pretty well sunk him. And it's *at least* as fine as his fifth.


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## Mahlerian (Nov 27, 2012)

KenOC said:


> My understanding is that "standard repertoire" means simply works that are often programmed and performed. The mechanism is simple, at least for orchestral works: If it sells tickets and put bums in seats, then it gets programmed a lot and becomes standard repertoire. Pieces enter and leave the repertoire regularly as tastes change. There's no authoritative list SFAIK.
> 
> BTW I think Prokofiev's 6th is in fact in the repertoire, much good it did poor Prokofiev. It pretty well sunk him. And it's *at least* as fine as his fifth.


It's not nearly so cut and dried as that. There are other factors involved as well, such as rental costs, rehearsal time, and so forth.

The Prokofiev Sixth may or may not be in the standard repertoire, but no major American orchestras programmed it this season (1: once, 3: twice, 5: five times, 7: twice), and Bachtrack only lists two upcoming performances. I'm just wondering what your standard here is.


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## GGluek (Dec 11, 2011)

_I _determine it. I've listened to Prokofiev's Sixth a lot over the last 50 years, and never liked it as much as the fifth. Ipso facto.


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## KenOC (Mar 7, 2011)

Mahlerian said:


> The Prokofiev Sixth may or may not be in the standard repertoire, but no major American orchestras programmed it this season (1: once, 3: twice, 5: five times, 7: twice), and Bachtrack only lists two upcoming performances. I'm just wondering what your standard here is.


Your numbers seem quite right! I may be wrong about the 6th being in the standard rep, but I did leave some wiggle room by saying "I think". I'll amend that to say, it *should* be in the standard repertoire. Are you listening, American orchestras?


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## Mahlerian (Nov 27, 2012)

KenOC said:


> Your numbers seem quite right! I may be wrong about the 6th being in the standard rep, but I did leave some wiggle room by saying "I think". I'll amend that to say, it *should* be in the standard repertoire. Are you listening, American orchestras?


Why should they? If it "sells tickets and put bums on seats," they would already be programming it, right?

By the logic of your first post, it seems clear that people don't want to listen to Prokofiev's Sixth.


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## Celloman (Sep 30, 2006)

"Canonization" seems to be the result of many tiny factors that we aren't even aware of...though I will say that many of the most popular Classical works have at least one or more catchy "tunes" in them. Think William Tell and Nutcracker. People still like a tune they can whistle or hum. Go figure.


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## KenOC (Mar 7, 2011)

Mahlerian said:


> It's not nearly so cut and dried as that. There are other factors involved as well, such as rental costs, rehearsal time, and so forth.


Indeed. In fact, I wonder if we can't say that the standard repertoire is largely determined by economics.

Bums in seats = higher revenues
Fewer rehearsals = lower costs
Reasonable rental prices = lower costs.

All these (at least) contribute to the frequency of programming, I'd think. Other factors?

Oh, I'll add one more -- possibly. The tastes of the big donors (may of whom are typically on the board of directors). After all, on average most revenues come from the donors, not ticket sales. But my impression is that donors are not usually anxious to sway specific programming decisions; they tend to be more concerned with the health of the organization and on its community impact. Others may have more specific information on this.


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## SONNET CLV (May 31, 2014)

20centrfuge said:


> *What is the Process of Becoming Standard Repertoire *
> I've been wondering - how does a new piece of music come to eventually be considered standard repertoire? I am sure there are many factors and I don't believe there is a definitive list of standard repertoire, but still...


It's a matter of filling out the correct forms. A lot of "red tape". John Adams is good at filling out forms. Prokofiev not so.


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