Over a period of three weeks, many of my symphonies and chamber works have been performed in Edinburgh. I found it extremely interesting and useful to hear these works rendered by various orchestras, conductors, quartets and singers. I am now critically disposed towards much of what I have written, I am not satisfied with some things. In my view, this kind of reappraisal of one’s work over the years is absolutely unavoidable. / In the first place, I should like to rest a little. Strange though it may seem, I am exhausted by hearing so much of my own work. I must get my thoughts together and think over all that I have heard and seen. I should point out that I cannot complain of a lack of interest in my works here at home; but to hear so many of one’s own work in such a short time takes it out of you. But I shall not only rest – I also want to finish my Thirteenth Symphony and Tenth Quartet. / All my works were performed fairly satisfactorily, some of them even well (I am not speaking about the Soviet performers), apart from two – the Sixth Symphony and the Eight Symphony, whose performances I found- if not completely, then, at any rate, to a considerable extent – unsatisfactory. If there is ever another festival like this in my lifetime, I shall ask one thing of the organisers: not to present me with a fait accompli. / Presumably for the sake of economy, which is understandable of course, a symphony orchestra which was to perform, say, on Monday evening would arrive in Edinburgh early that day; they would have a final rehearsal in the morning and give the concert in the evening. What changes could I possibly make at such a late stage? Still, I managed to make a few suggestions for the Sixth Symphony, which was played by a Scottish orchestra from Edinburgh, conducted by Norman Del Mar, and for the Eighth Symphony, performed by the Polish Radio Orchestra under Jan Krenz… / In about three weeks, not very long – I heard most of my works. Of course, I can’t complain about my works not being played here in the Soviet Union :  they’re often- perhaps more often than they deserve – included in symphony and chamber concerts, but this has sort of taken place over a long period of time, so to speak. But there, you see, in only three weeks, well, the whole of my musical life, as it were, kind of passed before my eyes, as they say. For Lord Harewood, the Festival organiser, put on some of my very earliest compositions, like two pieces for string octet, which I hadn’t heard for ages, and, well, enjoyed very much indeed… I heard my Twelfth Symphony and Eighth Quartet too. This is very useful for a composer. For immediately I realised what wasn’t right, and what should have been written differently… It is absolutely impossible, absolutely wrong to lose a critical attitude to one’s own works. A sense of criticism, of self-criticism, is essential. I learned a great deal from three weeks of listening daily to my own compositions, it was extremely useful. For this, I am deeply obliged, so to speak, to the organisers of the Festival. /It was a great nervous strain. Every day there was a final rehearsal or an ordinary rehearsal, or a daytime concert (sometimes there were three concerts – in the morning, afternoon and evening), and all this was a great cause for worry. At the same time, I slept badly and was very restless. It certainly was no pleasure-trip, you know… This kind of work involves great difficulties and responsibilities…