It was on November 11, 1918 – the eleventh hour of the eleventh day of the eleventh month – that representatives of the Allied Forces and Germany sat down to sign the Armistice that concluded hostilities on the Western Front, formally ending the “War to End All Wars.”
Five years later, John Foulds’ “A World Requiem,” conceived as a memorial to the dead of all nations, was given its first performance, on November 11th, 1923. The work was embraced by the public, though critical reaction was mixed. Subsequent performances took place from 1924 to 1926 as part of a Festival of Remembrance. After that, it lay unheard for some eight decades, until resurrected by conductor Leon Botstein.
Botstein has dusted off more than his share of worthy curiosities over the years, though few more ambitious than “A World Requiem.” A performance of the 90-minute piece requires up to 1,250 musicians. The work’s world premiere recording, on the Chandos label, was taken from a live concert presented on Armistice Day 2007, at the venue in which the work was first heard, Royal Albert Hall London.
The Requiem’s texts were derived from various spiritual sources by the composer’s wife, Maud MacCarthy, built on fragments from the Requiem Mass, as well as writings of John Bunyan and the Hindu poet Kabir. The overall tone is more Brahms than Britten. Part One of the oratorio promises peace and rest; Part Two conveys radiant visions of paradise.
I had assumed that the work’s neglect had to do with the dual concerns of cost and evolving musical taste. However, around the time of the Requiem’s revival, it was discovered that performances may actually have been suppressed by the BBC, possibly at the instigation of Sir Adrian Boult – this despite the fact that Foulds donated all proceeds to the poppy appeal for the British legion. You can read more about the alleged “banning” of the Requiem here:
https://www.manchester.ac.uk/discover/news/world-requiem-was-unofficially-banned/
Across the pond and closer to home, in 1954, at the urging of U.S. veterans, Armistice Day was renamed Veterans Day. Though the intent of the holiday is frequently confused with that of Memorial Day, Veterans Day is a time to honor ALL military veterans, not just those who died in service to their country.
Foulds’ gargantuan oratorio could serve double-duty. Sadly, it is almost never performed at all.
The oratorio falls into 20 movements (two parts subdivided into ten each) for soloists, massed choirs, including children’s choirs, large orchestra, offstage instrumentalists, and organ. A progressive tonal framework is spiced with quarter tones, cluster chords, and certain repetitive sequences.
War’s the pity. Always remember, and thank you to those who served.
Part I
1 I Requiem – 8:44
2 II Pronuntiatio – 4:05
3 III Confessio – 5:46
4 IV Jubilatio – 5:06
5 V Audite – 7:04
6 VI Pax – 3:53
7 VII Consolatio – 5:08
8 XIII Refutatio – 0:38
9 IX Lux Veritatis – 1:19
10 X Requiem 3:25
45:08
Part II
1 XI Laudamus – 6:30
2 XII Elysium – 6:24
3 XIII In Pace – 3:17
4 Hymn of the Redeemed – 4:37
5 XIV Angeli – 3:27
6 XV Vox Dei – 3:07
7 XVI Adventus – 4:01
8 XVII Vigilate – 2:03
9 XVIII Promissio et Invocatio – 7:30
10 XIX Benedictio – 1:41
11 XX Consummatus 2:06
44:50
