(supported by the News Chronicle and the BBC)
From a contemporaneous review
“The Festival, held in London on July 7-14, was the twentieth of the I.S.C.M. series. In many respects it was an indisputable success. To welcome so many musicians from Europe, to see faces which one has sadly missed for seven years or more-this aspect contributed an unusual zest, warmth and enthusiasm to the proceedings. As in previous International Contemporary Music Festivals, the social and convivial sides tended to overshadow the musical to such an extent that a question on many participants’ lips was: ‘Does one really have to have any music at these Festivals ? ‘ To which the answer is obviously, ‘Yes.’ You cannot have your bread and circuses without a raison d’etre. It is even arguable that the more disappointing the musical fare provided, the more enjoyable by contrast the social side becomes; had the concerts produced a series of modern masterpieces, the audience would have dispersed quietly and quickly after the concerts, each to his own home to meditate on and preserve his memories of the music. This did not happen.”
— Alan Frank, “The I.S.C.M. Festival,” The Musical Times, Vol. 87, No. 1242 (Aug. 1946), p. 233.