ABSTRACT
This chapter examines how Alessandro Baricco's ideas lay the foundations for methods-including own-to revitalise classical music programming. Rather, it is a progressive model that can. The chapter also examines three examples, of which the first and third are from the practice; the second is cited because it exhibits a comparable, and inspirational, way of working. Extramusical context was intended to provide a gateway to the music for new, young, omnivorous attenders-a mode of programming that recalls Baricco's idea of striving for quality but tailoring it to the intended audience. Consequently, the festival featured the work the composer/visual artist Christian Marclay in 2012, and two years earlier highlighted the debt contemporary electronic music owes the twentieth-century classical composer Edgar Varese. A strategy common to each interviewed programmer is to exploit interconnections between classical music and other genres, disciplines, and related themes.
