There were also several important articles in both local Sussex magazines and in national music journals, but as the war progressed mention of Bridge's music and performances of it became fewer and fewer until the neglect of his work was well-nigh complete. Apart from Jack Westrup's perceptive chapter on Bridge in British Music of Our Time (1946), one searches almost in vain during the immediate post-war period for any discussion of Bridge's music in the press. Only Britten was willing to support his former teacher, with performances at the first four Aldeburgh Festivals, 1948-51, and in 1955 the Third String Quartet, although there were occasional broadcasts given by the BBC, and a handful of the chamber works, piano pieces and songs remained in the repertoire.
This situation began to improve significantly only during the mid-1960s, when writings by John Warrack, Britten and Peter Pirie, and in the early 1970s, Anthony Payne, created a new interest in Bridge's music, which was further encouraged by the enterprising activities of the BBC, several record companies and the Frank Bridge Trust under the energetic direction of John Bishop. The new appraisal of Bridge's work that was generated by this more widespread knowledge and performance of his music identified Bridge not as a historical curiosity, dismissed summarily for updating his music in order to keep pace with the times, but as one of the leading British musicians of his period. Admittedly his achievement is not a universal one - his most wholly successful contribution is in chamber music - but many of both the earlier and later chamber works, together with such pieces as The Sea, Summer, the Piano Sonata, There is a Willow Grows Aslant a Brook and Oration, place Bridge in a very special niche in British music of the first half of the twentieth century.