 The "New York Times" critic described the work as uneven; richly harmonious, but combining colour and beauty with effects "of an almost crass unskillfulness and ugliness".For the rest of his lifetime Delius's more popular pieces were performed in England and abroad, often under the sponsorship of Beecham, who was primarily responsible for the Delius festival in October–November 1929.In a retrospective comment on the festival "The Times" critic wrote of full houses and an apparent enthusiasm for "music which hitherto has enjoyed no exceptional vogue", but wondered whether this new acceptance was based on a solid foundation.