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On the Internet, the landscape of American orchestral life is visible as never before. Almost all professional orchestras have their own Web sites, where you can study schedules, listen to MP3s, admire pictures of the executive director with donors, and read cute bios of the players. (The oboist bungee-jumps; ergo, musicians are human beings, not alien geeks.) Wandering around this virtual map, you can see signs that America's orchestras are vacillating between vague optimism and raw panic. In some cases, straight-up classical works are perilously rare; concertos of Rachmaninoff and Tchaikovsky huddle among prepackaged pops programs like "Barbie at the Symphony" (an ...