Roy HEATON SMITH (1928-2014)
Opening the Door
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]
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
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