There could be no clearer expression of Britten's artistic creed than that of his thoughtfully worded speech on receiving the Aspen Award, in which he spoke of his belief in ‘occasional music’, of an artist's role in society and that music should demand of a listener ‘some effort, a journey to a special place, saving up for a ticket, some homework on the programme perhaps’. Here already we have three ideas which, given the right circumstances, could be made to flourish in the shape of a festival. The fourth ingredient necessary for the formula was that ‘special place’, Aldeburgh; a place which Britten was to regard as his home. As he memorably said in the 1964 speech, ‘I do not write for posterity – in any case, the outlook for that is somewhat uncertain. I write music, now, in Aldeburgh, for people living there, and further afield, indeed for anyone who cares to play it or listen to it. But my music now has its roots, in where I live and work.’

It was while driving to Lucerne in 1947 for performances with the newly formed English Opera Group that Pears turned to his companions Britten and Crozier and suggested, ‘Why not… make our own Festival?' The idea was prompted by the absurd hardship and expense of travelling abroad to find audiences for new English operas that were not being supported in their country of origin.