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Then they deserve to not be performed. They are right in not bringing it to someone. If it isn't worth your time and effort, and you don't think it is worth their time and effort, then it probably isn't worth being performed. Again, sometimes people just need to grow some damn balls and take the risk. If you don't take the risk, why would anyone else take a risk on you? How is anyone ever going to know you're there to take a risk on in the first place? My point about writing for large ensembles stands. If you are having trouble getting a handful of musicians to look at a work, it is pretty silly to imagine trying to get an entire orchestra to look at something. If you have a repertoire of chamber works under your belt and you have the ability, logistical capability, and networking skills to achieve an orchestral performance than by all means feel free. I was under the impression that we were not discussing that sort of person here. I was saying someone who has very limited experience with little to no chamber works to speak of would be foolish to attempt orchestral writing when they could be better off writing simpler music that actually has a chance of an ensemble giving a serious look to.

I am referring to the traditional eastern ideology of beauty being intrinsically tied to perishability and incompleteness. I.E. Something is beautiful specifically because it is temporary, and thus rare and deserving to be cherished in the moment. And that something incomplete is more attractive than something complete because being incomplete gives the sense of room left to grow and become something greater, while once something is complete it is stagnant and almost dead. In a sense these ideas are tied into an overarching appreciation for life in the moment.