Of Bridge's orchestral works, it was still The Sea that was performed most frequently, being popular with audiences and critics alike. Wood loyally supported Bridge by including it in the Proms almost every year from 1925-35, although he sometimes rang the changes with the Two Poems or Sir Roger de Coverley. A more satisfying series of events for Bridge, however, was a broadcast performance of the Dance Poem in July 1933, the second performance ever, followed by performances at the Proms in October the same year and in 1935 and 1939. Bridge described his experience of conducting the first rehearsal of the 1933 broadcast to Marjorie Fass:
And I suppose there was such a thing perpetuated [sic] in 1913. Odd, very odd impression for a few bars - conducting some concoction or other and seeming to know all about it. - 'O, that's good' - 'That's very familiar', 'Very', 'might have been by me' - 'what a nice warm luscious sound - luscious and velvety and alive too!' - 'Indeed, I seem to know as much about it as the composer'. 'Funny to be so at home with somebody else's work'. 'Why, good Lord, it ain't some one else, it is me!'
Good or bad, original or unoriginal, likeable or dislikeable, there it is. And, in spite of the great heat, we rehearsed that as well as possible (for an afternoon rehearsal!) If you don't like it, it can't be helped, - but I do think it is damned difficult not to have a cursing fit at the obtuseness, apathy and priggishness that finds me doing this work only for the second time in twenty years, when it might - I think - have been in orchestral repertoires long ago. It may yet be damned again in the October newspapers.18
An additional justifiable cause for complaint arose when works were turned down for performances which could have proved very prestigious for Bridge. In 1928 he submitted There is a Willow Grows Aslant a Brook to the committee of the British section of the ISCM. This committee was choosing compositions to be sent forward to the central committee, which in its turn was selecting works to be included in the seventh festival, to be held at Geneva the following year. The Concerto for Two Pianos and Orchestra by Bliss, Flos Campi by Vaughan Williams and Walton's Sinfonia Concertante were forwarded among the British proposals, but Bridge's work was returned.