0 8 - 1 0 9 ). ▁The ▁C IA ▁and , ▁in ▁turn ▁the ▁C CF , ▁displayed ▁rel uct ance ▁to ▁patron ize ▁America ' s ▁musical ▁ ▁avant - gar de , ▁experimental , ▁including ▁artists ▁such ▁as ▁Mil ton ▁B abb itt ▁and ▁John ▁C age . ▁▁ ▁The ▁C CF ▁took ▁a ▁more ▁conserv ative ▁approach , ▁as ▁out lined ▁under ▁its ▁General ▁Secretary , ▁Nicolas ▁N ab ok ov , ▁and ▁concentr ated ▁its ▁efforts ▁on ▁present ing ▁older ▁European ▁works ▁ ▁that ▁had ▁been ▁b anned ▁or ▁condem ned ▁by ▁the ▁Commun ist ▁Party . ▁ ▁In ▁ 1 9 5 2 , ▁the ▁C CF ▁spons ored ▁the ▁“ F estival ▁of ▁Tw enti eth - Cent ury ▁Master pie ces ▁of ▁Modern ▁Arts ” ▁ ▁in ▁Paris . ▁Over ▁the ▁next ▁thirty ▁days , ▁the ▁festival ▁hosted ▁nine ▁separate ▁orch est ras ▁which ▁ ▁performed ▁works ▁by ▁over ▁ 7 0 ▁compos ers , ▁many ▁of ▁whom ▁had ▁been ▁dismiss ed ▁by ▁commun ist ▁critics ▁ ▁as ▁“ de generate ” ▁and ▁“ ster ile ,” ; ▁included ▁in ▁this ▁group ▁were ▁compos ers ▁such ▁as ▁ ▁D mit ri ▁Sh ost akov ich ▁and ▁Claude ▁Deb uss y ▁( Wil ford ▁ 1 0 9 ). ▁ ▁The ▁festival ▁opened ▁with ▁a ▁performance ▁of ▁Stra vin sky ’ s ▁The ▁R ite ▁of ▁Spring , ▁as ▁performed ▁by ▁the ▁Boston ▁Sym phony ▁Orchestra ▁( 1 0 9 ). ▁Thomas ▁Br aden , ▁a