I may well be writing heresy, but I feel that there was possibly a reason after all for almost a century's neglect of the music of John Foulds.
Sakari Oramo and the CBSO have certainly put us in their debt for their exhumation and restoration of vibrant works such as the Three Mantras and the Dynamic Triptych, but what they gave us on Tuesday revealed a Foulds perhaps over-dependent upon contrivance and artifice.
Undoubtedly fascinating and colourful, his Music-Pictures (Group III) enjoyed much success during the year following their 1912 premiere, but were not performed complete again until 2000.
Perennially restless in his voice, Foulds has moments of Elgarian delicacy (brooding horns in "Old Greek Legend") and Holstian grimness (a grinding funeral march in "The Ancient of Days"), but his constant recourse to exotic modes and scales, tending to cancel each other out, has surely lost its shock-effect by now - and the quartertones at the heart of "Columbine" sound tired and mannered within an otherwise ravishingly lovely movement.
Oramo and his spirited players delivered the goods with flair and elan, launching into several days of Foulds recordings for Warner Classics.
At the same time the company is setting down Shostakovich's Violin Concerto no.1 from these forces in a wonderful collaboration with the remarkable Leila Josefowicz. This deeply personal work, looking back to Berg and surely an influence on Britten, drew from the soloist dark, sorrowing lower tones and steely, stellar upper reaches, all conveyed with supple, strong, occasionally gipsy-like bowing.
Her triumphant account was for me the highlight of the evening, though the sweeping energy of Janacek's House of the Dead Overture came close. His Taras Bulba made a rousing, if gruesome, finale. n Repeated tonight (7.30pm). Running time 2 hours.