This resistance by performing musicians to the introduction of new orchestral instruments, however, is as nothing compared to the fanatical opposition offered toward new musical compositions by professional players and conductors. The formation of schools and groups of contemporary composers is thwarted because composers are never allowed to hear one another's works if this can at all be prevented. Why this should be, is not apparent. The problem, then, is that of giving composers direct access to their audiences. For composers to beat their brains out against the stone wall of conductors,' performers', and publishers' opposition is futile.
Persistence only antagonizes the persistee.
For the best relations among all concerned, it might be better for the composer to leave the orchestras alone. Let them play the same old things over and over again, ad infinitum et ad nauseum , until they themselves get tired of them, which eventually they will. Happily,there is another way out of the composers' impasse. We need not disturb the sleep of the conventionalists. It is not in any way unfair for the composer to demand this same privilege.