From a contemporaneous review
“It would appear from the modern concerts that musical style is at last ceasing by degrees to assert itself as the prime factor of modern music: by which I mean that composers are growing to realise that more is expected of them (if they are to survive) than mere adherence, or even lip-worship, to a particular tonal system or a special manner dictated by another composer. Into these concerts crept other ambitions: the proper idiom might be there as no doubt the respectability of our age demands, but also much more, so that one felt exempt from judging any one work by its own self-erected standard, and capable of measuring it by criterions not dissimilar to those which one has applied to other musical works-whether pre-Bach or post-Debussy, Lutenist or Lisztian.”
–Hubert J. Foss, “The International Festival at Vienna,”
The Musical Times, Vol. 73, No. 1074 (Aug. 1, 1932), p. 701.