An effervescent Foden’s certainly provided a high energy climax to a full day of engrossing music making at the RNCM Festival.

It was bold, boisterous and bohemian; MD James Gourlay infused with an adrenaline rush that brought vivid colour and texture to substantial and slightly less substantial repertoire alike: Michael Fowles wasn’t far behind either. 

Only David Thornton remained cool under the collar - his performance of the esoteric Michael Ball ‘Euphonium Concerto’ a masterclass in cultured refinement.   

Splendid

It all began with a splendid performance of ‘King Arthur: Scenes from a Radio Drama’ - expertly realised in condensed narrative form by Paul Hindmarsh to bring us the highlights of the mythical tale in drama-packed Technicolor.  

Gourlay was Errol Flynn; a swashbuckling focal point of heroism as he cut a brilliant swath through the ebullient score.  You can only hope we hear this work again very soon - even in test-piece guise.

Heroic lead

It was followed be an equally heroic lead from David Thornton in Ball’s ‘Euphonium Concerto’ - a work that emerges from its slumber to display surprising aggressive intent and momentum before a wistful, discombobulating central section breaks into a Scherzo finale full of vitality. 

The soloist and accompaniment was superb - the clarity of the musical thought process crystallised into a delivery that throbbed with dark energy.

Deceptive 

The first half closed with a welcome reprise of ‘Theme and Co-operation’ - a playful title to a serious work inspired by the pioneering spirit of the co-operative movement which celebrated its 150th anniversary when it was used at the National Final in 1994. 

It’s deceptive challenges; rather more abstract in form and structure than many of the Horovitz works showcased at the event, was a timely reminder the composer’s wonderful scoring skills;  the music developing in engrossing complexity to a glorious close. 

Explosion

For some reason Foden’s went feral after the interval with ‘Asphalt Cocktail’ - a brilliant explosion of riotous sound and effect that left many in the audience gasping for breath. It was a jalapeno lollipop dipped in LSD; Jim Gourlay’s right leg twitching as if powered by a Luigi Galvani experiment.

It was a great pity then that adrenaline fuelled carelessness over volume control (with needlessly miked up vocalist and harp) rather spoilt the effect of ‘A Child Like You’.  With such a potent political relevance it was so frustrating that the narrative line was all too often submerged. 

You desperately wanted to hear more of the spiky, waspish delivery of soprano Anna-Clare Monk and plaintive voices of the children - and less of the band and harp (however well played).  It was an opportunity missed. 

Elusive

Not so with the finale - and the malevolent, elusive spitefulness of ‘Odin - From the Land of Fire and Ice’; played with an almost reckless abandon that brought the music thrillingly to life - a gallop at full pelt aboard the eight-legged steed Sleipnir.

It was a fine way to close a high impact concert - even the ‘Lost Chord’ encore warming the earlobes.

Iwan Fox