Certainly it was the year to visit the USSR, as one rubbed shoulders with pre-Summit reporters awaiting Reagan/Gorbachev, and pilgrims celebrating the millennium of Christianity in Russia. Wandering up the Nevsky Prospekt, you saw musicians hurrying with instrument cases in hand; and whichever way you crossed the Neva or the canals, the babel of language sounded like a session at the United Nations. As Tikhon Khrennikov (still Chairman of the Composers Union 40 years after its notorious 1948 Congress) pointed out in his welcoming address at the opening concert, the Festival's purpose was ‘for building spiritual bridges between nations using music as the unique and indispensable means of communication’. Stylistic restrictions were withdrawn so that listeners would get an unusually broad idea of the ‘many-sided panorama of modern musical art’. Thus, not only ‘serious’ music but also pop, jazz, folk, and traditional musics were performed. Having attended the previous two Festivals, it was very interesting to observe the progressive attitude of the Third. Not only was there more of everything, but more variety: not only symphonic, chamber, and choral music events, but also organ recitals, modern violin music, opera, children's theatre, a song evening, and even one for light music. Not only did the best Soviet conductors and performers participate, but also the New York Philharmonic, the BBC Welsh Symphony Orchestra, jazz groups of the USSR and elsewhere, and the British avant-garde vocal group ‘Electric Phoenix’. Although the concerts were heavily weighted with Soviet works, still almost 40 countries were represented (from Cuba to Mongolia) with works by more than 150 living composers.
Leon Festinger