(presented in connection with the International GAUDEAMUS Music Week)
From a contemporaneous review
“It must be said that most of the pieces presented at the festival were terrible. And yet, the only juror who attended most events at the festival stated that the jury had had to eliminate most of the submitted works because of ‘poor quality.’
“Conceivably, the ages of the composers may account for generally uncertain and poor impression of so much of the music heard: fourteen were under 30, sixteen between 30 and 40, and only eight were over 40 (thus, to some extent, mature and directed).
“[T]he recognition of a wider range of styles and cultures of contemporary music is not easy for people who have been brought up in the perspective of a single tradition, because of the fear that this wider exposure may cause a reevaluation of principles to which some individuals have already made a strong commitment. The selection of incompetent work and the failure to recognize the competence of work not selected are in themselves a way of insulating the jury from other styles and cultures. These problems will persist as juries meet to contemplate their selections for future festivals. If this fear can be overcome, allowing perhaps more conservative but more competent music to be presented, it will surely lead to a more interesting, vital, truly international festival.”
— Hubert S. Howe, “The 1974 ISCM World Music Days,”
Perspectives of New Music, Vol. 13, No. 1 (Autumn – Winter, 1974), pp. 229, 230 & 233.