Roy HEATON SMITH (1928-2014)
Opening the Door
Clare Wilkinson (mezzo-soprano), John Turner (recorder), Linda Merrick (clarinet), Benedict Holland (violin), Alistair Vennart (viola) Harvey Davies (piano), Ewa Tytman (piano) (Sonatina), Solem String Quartet,
Stephen Walters (clarinet) and the BBC Northern Orchestra/Stanford Robinson (Divertimento)
Rec. Royal Northern College of Music 3-5 September 2015, 17 November 2015, International Anthony Burgess Centre, 16 December 2012 (Recorder Sonatina), March 1958, recorded off-air (Divertimento)
DIVINE ART DDA21228 [60:45 + 63:08]
Roy Heaton Smith is probably a new discovery for many
listeners. Based on the music presented on this double CD, he is most
worthy of the dedicated work that has been put into the production of
this unique retrospective.
A few notes about the composer are essential: I rely on the liner notes
for this information. The composer was born in Middleton, Manchester
in 1928 and died there in 2014. He began composing as a teenager; however,
the ‘day job’ as an accounts clerk got in the way. He studied
piano with Noel Walton, Sir William’s brother, and composition
with Richard Hall. In 1950 he won a scholarship to attend the Royal
Manchester College of Music (now the Royal Northern College of Music)
where he had additional studies with Hall. Heaton Smith won the Royal
Philharmonic Society Prize for his Phantasy for voices and string orchestra.
For much of his career he was Head of Music at the Queen Elizabeth High
School in his home town. He held this post from 1960 until his retirement
in 1984.
The liner notes tell us that Heaton Smith wrote a good deal of music
in a wide variety of forms. More details about these would be helpful
as there is little information on the Internet or in the standard reference
works. The listener will be struck by a number of musical influences
in Heaton Smith’s music. He was clearly inspired by Shostakovich,
Britten and Bartok, amongst others. Notwithstanding, his music is original
and is not a pastiche of these composers. He certainly was not one of
Vaughan Williams’ ‘corn-merchants’ (Elisabeth Lutyens)
nor did he aspire to the Manchester avant- garde represented by Peter
Maxwell Davies, Harrison Birtwistle and Alexander Goehr.
The opening tracks on CD 1 present the delightfully whimsical Three
Bagatelles, op.46 for recorder, viola and clarinet. Most likely written
for Heaton Smith’s own use, this work was probably never performed.
The opening ‘scherzo’ is vivacious, the ‘dance’
restrained and the final ‘capriccio’ is ‘knockabout’
in its wayward humour. I love it!
Of more serious moment is ‘A Suite of Variations’, op37
for viola and piano. This work lasts for nearly quarter of an hour and
presents six well-considered variations, preceded by a reflective theme
played on the solo viola. The music progresses through a sad ‘berceuse’,
an affecting arioso and a nervous toccata. The last three variations
include a deeply felt ‘elegy’ a none too light-hearted ‘intermezzo’
and a thoughtful finale. The Variations were written in 1955 and dedicated
to Brien Stait: it was a prizewinning work in the SPNM’s (Society
for the Promotion of New Music) Harry Danks Viola Competition. It was
first heard in The Great Drawing Room of the Arts Council of Great Britain,
St James’ Square, London, on 6 July 1955.
I found the ‘Pastoral’ a magical experience. It quite clearly
out-Britten’s Britten in its effectiveness, colourful scoring
and musical interpretation of the text. This piece is based on a long
poem by the Heaton Smith and is set for medium voice, recorder and viola.
It was composed in 1969. The balance of the parts is near perfect in
its portrayal of the composer’s imaginary, but captivating pastoral
landscape.
The liner notes give little detail about the Introduction and Variations,
op.24 for violin and piano. Yet, this one of longest and most impressive
works on this CD. It was first performed at Aberystwyth University during
July 1951 by the composer’s friend Brien Stait and an anonymous
pianist. After a short ‘introduction’ played ‘feroce’
the soloists present a lovely romantic tune. This is followed by four
variations. The music has a well-judged balance between aggression and
reflection.
The composers Henri Duparc and Gabriel Fauré provided the inspiration
for the ‘Trois Chansons Romantiques’, op.22 for mezzo-soprano
and piano. They were composed during 1950 whilst Heaton Smith was studying
with Richard Hall at the Royal Manchester College of Music. These songs
are evocative settings of poems by Alfred de Musset, Paul Verlaine and
Henri Chantavoine. In spite of their ‘retro’ feel these
are commendable ‘chansons’ that are both satisfying and
musically perfect. I would have appreciated an English translation of
the songs, as schoolboy French does not stretch to the subtleties of
a literary translation of these beautiful words.
The earliest piece on these CDs is the melancholy Passacaglia. This
was the first movement of a string quartet that was subsequently abandoned:
either not completed or discarded. The music was composed during the
autumn of 1948, but was not finalised until May 1950. The liner notes
suggest that it was never performed until the present recording was
made. The music is not serial, in spite of the use of all twelve notes
of the chromatic scale. There are 17 variations which maintain the mood
of the opening cello solo, but provide interest by subtle string writing.
It is a very beautiful piece that is far removed from the contemporaneous
music of a Ralph Vaughan Williams or a Humphrey Searle.
The String Quartet written between 1951-4 is a different kettle of fish.
It presents a buoyancy and energy in the ‘overture’ that
chases away any gloom. There is a reflective ‘second subject’
but this is more a pause than a change of mood. The second movement
is a set of variations which fulfils the function of the ‘slow
movement and finale.’ This begins with a pizzicato cello solo,
followed by a gradual increase in tension until the short but dynamic
‘presto’ clears the air. The composer has a masterly understanding
of string writing. In spite of being a work of its time, it is a little
masterpiece. Once again the present performance would appear to be the
quartet’s premiere.
I was delighted by the ‘early’ ‘Sonatina alla Fantasia’,
op.23 for soprano recorder and piano, composed in 1950/1. This short,
but highly inventive little piece has three ‘linked’ movements:
there is considerable cross-reference between the opening ‘allegro
moderato’ and the closing ‘allegro scherzando.’ The
middle movement is a measured ‘andante molto’ that contrasts
chordal passages for piano with unaccompanied recitative from the recorder.
Just here and there I found hints of Malcolm Arnold’s exuberance,
especially in the fast sections.
There is a neo-classical ‘grittiness’ about the Sonatina,
op.19 for piano solo (1949). The liner notes suggest
that it reveals the influence of Stravinsky, Bartok and Poulenc. The
bitonal ‘allegretto con moto’ is followed by a less-than-restful,
but beautifully contrived ‘lullaby,’ The rondo is a tour
de force, counterpoising irregular motor rhythms (if that is not a mix
of metaphors) with less dynamic and almost Ireland-esque interludes.
It is a complex and virtuosic work that belies the title: this Sonatina
is no teaching piece. This is a work that deserves to be in the pianist’s
repertoire.
I did not warm to ‘A Vision of the Future’ which is a ‘heartfelt
diatribe against conflict’ composed in 1966. It is a setting of
two ‘verses’: one by the composer and the other by Alexander
Pope. This is just a little bit too ‘pacifist’ for my taste.
I am very proud of the men and women who fought against Hitler in the
Second World War, ‘In the desert and jungle/In frozen seas/Men
died…’ I do not regard their sacrifice as futile (‘And
for what?’). I concede the idealistic hope for peace demanded
by Pope: we all do. The musical onomatopoeia is just a little bit over
the top. On the other hand, I can well imagine other listeners declaring
this ‘Vision of the Future’ a masterpiece, and there are
certainly some wonderful moments in the work.
The Four Folksong arrangements, op.26 for medium voice, clarinet and
piano were composed in 1948/9 and were revised in 1951. Tunes that were
once upon a time very well-known have been extracted from the National
Song Book (1905) published under the auspices of Charles Villiers
Stanford. There are settings of ‘Robin Adair’, the Northumbrian
‘The Keel Row’, a wistful ‘Farewell Manchester’
supposedly dating back to Bonnie Prince Charlie’s retreat from
the Lancashire city on his way up the road to Culloden. The final song
is a setting of words by Alfred Percival Graves (1846-1931) ‘Good
Morrow, Mistress Bright’ which brings the set to happy ending.
I found the ‘bonus’ track absolutely delightful. The Divertimento
for clarinet and strings was taken from a radio broadcast made during
March 1958. Stanford Robinson conducted the BBC Northern Orchestra.
This work, as the title would suggest, is ‘light’ rather
than profound. I found myself thinking of Prokofiev’s Peter
and the Wolf as the music progressed. In fact, the composer was
influenced by Schubert’s German Dances! The old AM broadcast has
been restored by Richard Scott. It is a wonderful ‘find.’
The soloists are totally committed to Roy Heaton Smith’s music.
It is unfair to pick out ‘favourites.’ However, I loved
Clare Wilkinson’s voice in all the vocal works. And John Turner
has brought his renowned enthusiasm to both the production and the performance
of this music. The liner notes are excellent, with musicians’
biographies and lots of photographs. A little more analysis of some
of these unknown works would have been of great interest. The texts
of all the songs are helpfully included, except the translations as
noted above.
I am not sure what other works Heaton Smith composed: I do know there
is a well-regarded Clarinet Concerto in the catalogue. I guess that
much of his output has remained in holograph. The only piece I had heard
before reviewing this CD was the ‘Sonatina alla fantasia’,
op.23 which appeared on the CD ‘Anthony Burgess: The Man and his
Music’ (Metier MSV77202). I hope that more detail of Heaton Smith’s
achievement will emerge, both in the musical press and on CD. Based
on this present two-CD exploration of his music, any forthcoming performances
will be essential listening for all enthusiasts of British music from
the second half of the 20th century.
John France
Track listing
Three Bagatelles, op.46 for recorder, viola and clarinet (1958/9) [5:43]
A Suite of Variations, op.37 for viola and piano (1955) [14:03]
Pastoral, for medium voice, recorded and viola (1969) [9:31]
Introduction and Variations, op.24 for violin and piano (1950) [13:42]
Trois Chansons Romantiques, op.22 for mezzo-soprano and piano (1950/1)
[7:58]
Passacaglia, op.18 (b) for string quartet (1948/50) [9:26
String Quartet, op.34 (1951/4) [16:47]
Sonatina alla fantasia, op.23 for recorder and piano (1950/1) [7:52]
Sonatina, op.19 for piano (1949) [9:39]
A Vision of the Future, for medium voice, viola and piano (1966)
[9:03]
Four Folksong arrangements, op.26 for medium voice, clarinet and piano
(1948/9, rev.1951) [7:25]
Divertimento, for clarinet and string orchestra (1957) [11:44]
