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under the pressure of a wave of artistic innovation, a forcible ‘changing of the guard’. Perhaps the closest parallel could be drawn with Czech music in the mid-1960s, when an extremely interesting and intriguing avant-garde group appeared on the music scene (Rudolf Komorous, Jan Rychlík, Josef Berg, Zbyněk Vostřák, and others), but this group was soon wiped out from artistic life when the Warsaw Pact armies suppressed the “Prague Spring” movement. Be it as it may, the Warsaw Autumn found itself in a kind of crossfire: on the one hand, crowds of visitors