From contemporaneous reviews
“In his introduction to the programme of the seventh (Geneva) Festival of the International Society for Contemporary Music, Prof. Edward J. Dent recalls that the composers represented at the first (Salzburg) Festival were either practically unknown to the public or, if known, regarded as revolutionaries bent upon the destruction of musical art. Today he describes Ravel, Stravinsky, and Schönberg as admitted to the ranks of classics, and therefore beyond the scope of these Festivals except for an occasional tribute of respect and admiration. At their sides he sees a phalanx of young composers whose names are made and who will in turn make way for composers unknown to-day.”
— Edwin Evans, “Geneva Festival,”
The Musical Times, Vol. 70, No. 1035 (May 1, 1929), p. 432.
“On the whole, the festival revealed a great number of works by unknown or little-known composers who deserve to emerge from obscurity. It also proved once again the usefulness of the work being accomplished by the Society for Contemporary Music, despite the crises through which it passes periodically and emerges more active than ever.
“Let us remark than in the concert hall there were very few Genevans, and that the delegates were almost the only one present. This seventh festival therefore took on the aspect of an intimate reunion of musicians and critics come from many lands to meet one another and feel then pulse of music.”
Henry Prunieres, “The Geneva Festival; International Society for Contemporary Music Hears Varied Schools,”
New York Times, 5 May 1929, Arts & Leisure, p. 122.