one of the features of barbirolli's time in new york was his regular programming of modern works. he gave the world premières of walton's second "façade suite", and britten's "sinfonia da requiem" and violin concerto; he also introduced pieces by jacques ibert, eugene goossens, and arthur bliss and by many american composers including samuel barber, deems taylor and daniel gregory mason. the new works he presented were not avant-garde, but they nevertheless alienated the conservative subscription audience, and after an initial increase in ticket sales in his early years sales declined. barbirolli also had to cope with what "the gramophone" described as "a rough press campaign in new york from interested parties who wished to evict him from his post". the influential critic olin downes had opposed barbirolli's appointment from the outset, insisting that, though "we abhor chauvinism", preference should have been given to "native conductors". downes had a grudge against the philharmonic: shortly before barbirolli's appointment downes was sacked as the commentator for the orchestra's prestigious sunday broadcasts. he and the composer virgil thomson continually wrote disparagingly about barbirolli, comparing him unfavourably with toscanini. the management of the orchestra nevertheless renewed barbirolli's appointment in 1940. in 1942, when his second contract was reaching its expiry, he was offered 18 concerts for the 1943–44 season, and the los angeles philharmonic invited him to become its conductor, but he accepted neither offer as he had decided to return to england.