Sheffield-born Wilfred Heaton is best recalled for his contribution to the brass band repertoire, although he did produce works for many other genres. The Little Suite for recorder and piano was premiered in 2001 at the Royal Northern College of Music. The Suite presents five “contrasting cameos” which reflect the “dance-based instrumental suites of Bach and Bartók.” Moods encompassed include a vibrant Courante, a lugubrious Cantabile and a humorous Bourée. These are bookended by a brilliant Toccata and a will o’ the wisp Gigue.
The booklet states that Peter Pope’s Sonatina No.2 was composed in Croydon during April and May 1980. There is no information concerning any early performances. The piece is gentle and thoughtful throughout its three complementary movements. Gary Higginson, in his review of this CD, here, reminds the reader that Pope was a pupil of John Ireland, and that his influence can be seen in the sad slow movement.
Igor Stravinsky’s Lullaby (1960) for two recorders is an arrangement of Ann’s Lullaby from The Rake’s Progress (1951). It involved “an ingenious reduction of both song and chorus throughout to just two parts.” All I will say it would not send anyone off to sleep – just too piercing.
The brief Sonatina (1978), by John Locke was dedicated to the present soloist, John Turner. It comes as a gentle relief after the astringency of the Stravinsky. Even so, this is no pastoral ramble, but an exploration of some complex chromatic phrases. The central Adagio is particularly redolent. The final movement is played on the descant recorder, giving a brighter, bouncy conclusion.
The final work on CD1 is Thomas Pitfield’s Dancery (1974). This suite was inspired by Tielman Susato’s collection of dance tunes made popular by early music expert David Munrow. Pitfield has formulated five contrasting melodies which, although short, are always musically significant. My favourite is the smoky Pavan in Three Notes (Hommage à Poulenc). Equally attractive is the Finzian second Pavan. Altogether a delightful work that ought to be in the repertoire of all recorderists.
The second CD is a pot-pourri of miniatures. John Turner’s A Sad Pavane was written in 2022 as part of a collection designed for a video supporting the Ukrainian people. It is sad in mood, but ultimately positive. The second of Two Pieces is a rumbustious little Hopscotch (2012). Curiously, in Scotland we call this game ‘peever.’
The liner notes explain that John McCabe’s Domestic Life is “an arrangement of tunes from an ‘entertainment,’ This Town’s a Corporation Full of Crooked Streets, for voice and ensemble,” dating from 1969. It is interesting to note that the texts (not provided here) of the original were derived from poems authored by the Mersey Sound poets, Adrian Henri, Roger McGough, and Brian Patten and, also, included children’s rhymes. McCabe’s contribution is a fascinating little selection of tunes, all played without a break. McCabe himself referred to it as a “pièce d’occasion.” It would make a splendid encore at any recorder and piano recital.
John McCabe’s Sam’s Tune was originally penned in 1973 for a Granada TV production. It is untypical of his style, but quite catchy.
The liner notes explain that Christopher Ball “was a musical polymath, being a clarinettist, conductor, composer, arranger, publisher, recorder virtuoso, teacher and photographer.” His Two Pieces for recorder and piano were originally intended to be part of a sonatina, which never materialised. A Cheerful Little Piece, with a few neat twists and turns, does what it says on the tin, whilst the Homage to Dvořák is slower, thoughtful and has hints of Grandmother’s Songs and Hovis.
For any railway enthusiast, memories of Stockport Edgeley with it signal boxes, large station, and impressive viaduct bring back happy memories. Peter Hope has evoked The Edgeley Tram (2019) in his short contribution. It presents musical onomatopoeia of a journey from Mersey Square in the centre of town up the hill to the suburb of Edgeley. Sadly, the network of trams closed in 1951. Fortunately, Mersey Square has remained very much the same, despite town council planning. David Jepson also recalls the locality with his bewitching Edgeley Fold (2020). It is a “meditation on an excerpt from a poem by the native poet Anthony Warren Bardsley…” It balances wistful reflection with some “memories of a darker hue” created by wartime memories. A lovely little creation.
I am not sure why Alexander Gretchaninov’s Concertino, op. 171 (1944) has been included in this collection of largely British music. It is a “short and happy” number for two recorders and piano which is fun, but hardly essential.
American composer William Bergsma’s Pastorale and Scherzo (1943) brings a touch of variety to the prevailing instrumentation of this CD set. He has devised them for recorder and two violas. The Pastorale is a little too profound, whilst the Scherzo lets zip. A good encore.
Conversation Piece (1996) for two recorders by Dorothy Pilling is a pleasant little exercise that is full of summery delight. My only criticism is that it is too short!
David Ellis’s Mount Street Blues (2015) is in “memory of his friend from childhood, John McCabe.” Mount Street in Liverpool is the location of the Liverpool Institute where both men studied. There is only a hint of the “blues” about it, but it is an exquisite tribute.
The second contribution from
Ellis is his Fipple-Baguette: Three Encores for Solo Recorder op.
76 for solo recorder. (2004). The titles are Round Dance, Sarabande
with Doubles and End-Piece. These exceedingly difficult miniatures
were dedicated to John Turner. I do not know what the relevance of “Baguette”
is, but “Fipple” is the mouthpiece of a ducted flute, i.e. a recorder.
The final number in this recital is Thomas Pitfield’s A Little Caribbean. This undated work was originally scored for clarinet and piano. It is a charming miniature that presents a memorable melody and clever rhythmic patterning.
The helpful liner notes have been written/assembled by John Turner. They are clear and legible. Not all the dates of composition have been given, which is a pity. The playing on this disc is outstanding throughout. Most of the burden falls on John Turner, recorder, and Stephen Bettaney, piano, but additional resources are provided by the recorderist Laura Robinson, and the violists Catherine Yates and Alex Mitchell. Brief biographies are included for all performers. The cover is an attractive photo of (for me) an unknown series of constellations.
All the music on this new CD is of interest. Clearly individuals will make their own choice as to what are their favourites and what they can live without. What is clear is that this latest production overseen by the eminent recorderist John Turner reveals what a wonderful treasure chest exists of music that is found in the repertoire’s Highways and Byways. Long may these explorations continue.
Track Listing:CD1
Lennox Berkeley (1903-1989)
Sonatina op. 13 (1939)
Wilfred Heaton (1918-2000)
Little Suite (f.p.2001)
Peter Pope (1917-1991)
Sonatina No. 2 (1980)
David Butler (b. 1953)
The Summer Triangle
Igor Stravinsky (1882-1971)
Lullaby (arr. 1960)
John Locke (1907-1980)
Sonatina (1978)
Thomas Pitfield (1903-1999)
Dancery (1974)
CD2
John Turner (b. 1943)
Two Pieces (2022 and 2012)
John McCabe (1939-2015)
Domestic Life (1969/2000)
Sam’s Tune (1973)
Christopher Ball (1936-2022)
Two Pieces
Peter Hope (b. 1930)
The Edgeley Tram (2019)
David Jepson (1941-2021)
Edgeley Fold (c.2020)
Alexander Gretchaninov (1864-1956)
Concertino op. 171(1941)
William Bergsma (1921-1994)
Pastorale and Scherzo (1943)
Dorothy Pilling (1910-1998)
Conversation Piece (1996)
David Ellis (1933-2023)
Mount Street Blues (2015)
Fipple-Baguette: Three Encores for Solo Recorder, op. 76 (2004)
Thomas Pitfield
A Little Caribbean
John Turner (recorder), Stephen Bettaney (piano), Laura Robinson (recorder), Catherine Yates (viola), Alex Mitchell (viola)
rec. 22-23 May 2023, St. Elizabeth’s Church, Ashley, UK; 11 October 2023 St Paul’s Church, Heaton Moor, Stockport (Bergsma); 16 September 2008, St. Thomas’s Church, Stockport (Fipple-Baguette, Ellis)
Divine Art DDX21245
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