Australia has a history of exporting great classical music, but in the last decade it has become increasingly difficult to find it.

The best classical concerto performed by the country’s top musicians has been produced and released overseas for a long time, but the music is usually a rarity.

The lack of international interest has left many Australians with an unfulfilled dream of a classical music revival.

The world’s most successful composers, such as the composer Wolfgang Amadeus Mozart, the conductor Antonio Vivaldi and the conductor Andrei Tarkovsky, have all played their music for home audiences, but only the most famous and accomplished players are playing in public, and they are rarely heard in Australia.

While the country is home to a wealth of great classical musicians, few of them are performing in Australia, and even fewer are performing internationally.

“Australia is a classical country, but there’s not a lot of international classical music in Australia,” says Peter Schulte, a pianist, conductor and writer who has written about the country for the last 30 years.

“We don’t have that great a reputation that other countries have.”

The reasons for the lack of great international classical performances in Australia have ranged from lack of funds to lack of interest in classical music to a lack of support from the Australian government.

In a recent article for the Wall Street Journal, Schultes and his colleague, composer and pianist Jodi Schmitz, examined the funding for the Australian National Orchestra, the nation’s most prominent classical music institution.

Their study, titled The Last Chance for Classical Music in Australia?, looked at the history of the Australian N.O. since the 1970s.

They found that between 1973 and 2013, the N.

Os. funding of classical music had declined from about $5.2 million to $3.3 million.

In the first decade of the 21st century, that figure had been reduced to $2.9 million.

It was clear that funding for classical music declined significantly in the first half of the decade, but what caused the drop in funding was not well understood.

“It was a very complex picture,” says Schulteges.

“There were lots of factors that were playing into it, including funding cuts to the arts sector, as well as a decline in the popularity of the music.

It didn’t help that the music itself was becoming increasingly popular in Australia.”

Schultemess says the funding cuts that were taking place had nothing to do with the music being popular in the country, nor were they being supported by the government.

“The funding cuts were a result of an enormous number of reasons: a lack in funding, an inability to recruit the best talent in the world, a failure to support the music in the way that it needed to be supported, and the lack in the funding of universities and music schools,” she says.

The funding cuts “couldn’t have come at a worse time for Australia, in terms of our international competitiveness,” Schulteman says.

“They had been going on for a while.”

A lack of funding The government has been very active in trying to improve the countrys music sector in the past decade, and in recent years the Nats have received more funding than any other major Australian orchestra.

In 2012, the government announced $50 million over four years to upgrade the Natal National Centre for Music and Arts and to increase the number of international composers performing in Sydney and Melbourne.

But funding for new classical instruments has not been as substantial as the funding the Ninals received for the symphony.

“Even though we were spending more money, we were not getting the same results,” Schuleman says, adding that the lack is due in part to a reluctance of the Nates to invest in their music facilities.

The National Centre of Music and the Arts received about $3 million for upgrading its facility in 2015, but Schultebess says that amount will have to be cut by more than half.

“Our budget has been cut from $1.9 billion in 2014 to about $1 billion in 2020,” he says.

Schultecess points out that the Natl have not made any major investment in the Nodes since 2014, and he believes that the funding shortfall in the facility is causing the loss of performance.

“When they’re not investing in their facilities, when they’re spending less money, they’re doing less,” he explains.

“So the budget cut is going to have a lot to do there.”

The Nats are also struggling to attract foreign musicians.

The N.A.S.C. is a nonprofit organisation, but it is funded by donations and government grants.

“I don’t know of any other orchestra in the region that’s been so far,” Schults says.

It is the Natures lack of foreign talent that is one of the reasons why the orchestra has struggled to attract new composers to the region.

The orchestra’s director, David