Afterword

Summary

Lutyens has been proven right by history in her cynical comparison of the British art music scene with a crowded goldfish bowl, where it was not enough to be among the earliest twelve-tone, most lyrical, most prodigious, most flexible composers; just as it was not enough to be the conductor of the first British performance of a major Stravinsky work, the co-founder of the BBC Symphony Orchestra, or the President of the ISCM.

Lutyens and Clark’s network of enterprises centred around forcing the best of the new into the open, often against the taste of the ‘establishment’, sometimes against the advice of their friends and colleagues, occasionally even against their own better judgement. They used limited resources or sometimes an arguably flawed approach.