SACDs - Foulds

February 2008

***

“Anyone looking for the blazing, crazy brilliance of Foulds's Mantras, April-England or Dynamic Triptych is likely to come away with a very negative impression. There are occasional sparks of fire… But there's barely a hint of the visionary daring of the best Foulds.”

February 2008

“Foulds conducted A World Requiem's 1923 premiere at the Festival of Remembrance, using 1250 performers. This present performance, the first in more than 70 years, was given on Remembrance Day last year, and aside from a rather unwieldy soprano, is a triumph, with special praise due to baritone Gerald Finley and conductor Leon Botstein.”

2010

“Foulds conducted A World Requiem's 1923 premiere at the Festival of Remembrance, using 1250 performers. This present performance, the first in more than 70 years, was given on Remembrance Day 2007, and, aside from a rather unwieldy soprano, is a triumph, with special praise due to baritone Gerald Finley and conductor Leon Botstein.
A World Requiem is the kind of piece that could only have grown from wholehearted sincerity, in this case a very personal and inspired response to the devastating losses and suffering in the First World War. Cast in 20 interlinking sections, much of the work's musical style emerges off the backs of Requiems by Verdi and Berlioz but what we actually hear is more reminiscent of Busoni, the sombre tread of the opening Requiem, the ethereal, half-lit solos and duets, and the searing climaxes, not to mention the spooky use of quarter-tones. The fifth movement 'Audite' includes a stirring summons to 'you men of all the continents', an impressive roll call of nations (individually named) and a plea for universal peace.
The contrast between the sombre-hued close of the first part and the day-bright opening of the second – a celebration of deliverance – could hardly be more telling. From here on, the mood and language become more esoteric and the scoring is often extremely delicate. Sections based on texts from Revelation and the Gospel of St John lead to an affirmation of Christ's spirit and the work ends in ecstatic joy.
Foulds's work is as ambitiously all-embracing as Mahler's Third or Eighth symphonies, and in its way almost as moving as Britten's WarRequiem – though these are spontaneous reactions forged in the light of a first encounter.
Posterity's work starts here but her ultimate verdict could well be pretty favourable. Calum MacDonald's booklet-notes serve as an invaluable listening aid.”

2011 edition

“this performance exerts a gripping hold on the listener. The recording is very much in the demonstration bracket.”