a "howling mob" with brickbats and large stones pursued him and "half killed" him. These experiences have been identified as the root of his dislike of England, and he was soon to describe English people as intentionally and systematically mistreating foreigners. In late 1919, Warlock sent the music critic Ernest Newman several of Sorabji's scores, including his First Piano Sonata. Newman ignored them, and in November that year, Sorabji privately met the composer Ferruccio Busoni and played the piece for him. Busoni expressed reservations about the work but gave him a letter of recommendation, which helped Sorabji get it published. Warlock and Sorabji then publicly accused Newman of systematic avoidance and sabotage, which led the critic to detail why he could not meet Sorabji or review his scores. Warlock proceeded to call Newman's behaviour abusive and stubborn, and the issue was settled after the journal Musical Opinion reproduced correspondence between Sorabji and Newman. Sorabji has been called a late starter, as he had not composed music before the age of 22. Already before picking up the craft of composition, he had been drawn to recent developments in art music at a time when they did not receive much attention in England. This interest, along with his ethnicity, cemented his reputation as an outsider. The modernist style, increasingly longer durations and technical complexity of his works baffled critics and audiences. Although his music had its detractors, some musicians received it positively: after hearing Sorabji's Le jardin parfumé—Poem for Piano Solo in 1930, the English composer Frederick Delius sent him a letter admiring the piece's "real sensuous beauty", and around the 1920s, the French pianist Alfred Cortot and the Austrian composer Alban Berg took an interest in his work. Sorabji first played his music publicly in 1920 and he gave occasional performances of his works in Europe over the next decade. In the mid-1920s, he befriended the composer Erik Chisholm, which led to the most fruitful period of his pianistic career. Their correspondence began in 1926 and they first met in April 1930 in Glasgow, Scotland. Later that year, Sorabji joined Chisholm's recently created Active Society for the Propagation of Contemporary Music, whose concerts featured a number of distinguished composers and musicians. Despite Sorabji's protestations that he was "a composer—who incidentally, merely, plays the piano", he was the guest performer to make the most appearances in the series. He came to Glasgow