What I (playing mainly chamber music) try to do every time I put together a program, is to combine the sung with the unsung. (Nearly) No one is interested in a program with music which is totally unknown, but in the combining the sung with the unsung lie many possibilities: one can show influences, similarities, or just the opposite! We did a program with Schubert's first trio, and combined it with exactly the opposite: the piano trio of Catoire, a first-class masterpiece: early vs late romantic, well balanced vs turbulent, instruments in perfect harmony vs very soloistic in nature (each instrument fighting for its place), and so on. Another program included Debussy's violin sonata with the first violin sonata by the Dutch composer Willem Pijper, written 2 years after Debussy's, and clearly very influenced by it. Next month we combine Brahms' first sonata for cello and piano with the cello sonata by Gretchaninoff for a very particular reason (apart from the fact that it is a first rate work)(see my entry on this topic, reactions are welcome, since it is my first post on the website, I need some encouragement 
When the public is well informed (and the programming director) they will swallow a lot :-) but they need just a bit of extra information and encouragement. I often speak to the public explaining them why I value some pieces and perform them. And the reason may be very prosaic; in our Debut program of a piano trio that I founded in my student days, we put up a program with the letter "D" from "D"ebut: violin sonata by Debussy, Dumky trio by Dvorak, along the Cantilene by Belgian composer August De Boeck (cello and piano) and the exquisite piano trio nr2 by Vincent D'Indy...
Orchestral music is a different matter, I agree, but all bits help. I try to promote good and unknown music as much as possible, albeit in small concerts with a small audience (my career is very limited :-)
cheers to all
When the public is well informed (and the programming director) they will swallow a lot :-) but they need just a bit of extra information and encouragement. I often speak to the public explaining them why I value some pieces and perform them. And the reason may be very prosaic; in our Debut program of a piano trio that I founded in my student days, we put up a program with the letter "D" from "D"ebut: violin sonata by Debussy, Dumky trio by Dvorak, along the Cantilene by Belgian composer August De Boeck (cello and piano) and the exquisite piano trio nr2 by Vincent D'Indy...
Orchestral music is a different matter, I agree, but all bits help. I try to promote good and unknown music as much as possible, albeit in small concerts with a small audience (my career is very limited :-)
cheers to all