The Heaton Collection: Volume 3

Black Dyke, International Staff Band
Conductors: Dr. Nicholas Childs, Bandmaster Stephen Cobb
Soloists: Brett Baker, Kevin Ashman
SPS Recordings: SPS198 CD
Total Playing Time: 62.53

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When Mozart died in December 1791, his associate, the gifted Franz Xaver Sussmayr agreed to complete his last ‘Requiem' on the philanthropic grounds of helping Mozart's wife Constanze meet some of the great mans outstanding debts.

Being a philanthropic sort, and possibly by account of the work being originally commissioned to be passed off by Count Walsegg as his own (plagiarism from the grave if you like), the process was not altogether successful, and over the following 200 years Sussmayr's well meaning but sub standard completion has come in for a fair share of criticism and amendment, most readily by those who favour the revisions made by the Mozart scholar Robert Levin. 

It is of course a thankless task for the gifted individual to try and complete the work of true genius, but it hasn't stopped people from doing it – even when the original is not in the same league or the amanuensis as talented as Mozart and Sussmayr. Some have succeeded - others have not.

Although rare in the brass band world, it is not an unknown phenomenon – although possible examples, such as the end section of Gilbert Vinter's ‘James Cook – Circumnavigator' have not been entirely satisfactory.

However, with this ‘Volume 3 of the Heaton Collection', Paul Hindmarsh brings not only a superbly crafted technique to his honest and compelling task of completing sections of Wilfred Heaton's eclectic later output, but the dedication and homage of a true believer in the genius of the masters music and of the man himself. Such is his skill and understanding of Heaton's musical DNA that at no point can even the most dedicated Heaton academic identify the imperceptible musical micro surgery that has taken place.  It is a truly magnificent achievement even if Hindmarsh himself is very modest about the totality of his input that he outlines in the superb chronological essay that accompanies the release.      

The music itself (although initial outline sketches of some works was done earlier) covers the composer's output after his life and work became transformed through his acceptance of the principles of Anthroposophy and he associated himself in friendship with the driving force of the Workers Educational Association in Sheffield, Arnold Freeman. From his early forties onwards, Heaton composed little, but what he did compose (and thankfully kept in varying sketches, ideas and drafts) still retained the innate beauty of austerity, dark wit and sombre reflection that were to remain the hallmarks of his output to the very end of his life. 

Paul Hindmarsh has not recreated these by a less subtle form of plagiarism or even pastiche in any of the works in which he has had to provide input, but with a loving eye and sympathetic ear to the personal creativity of the composer. The results are breathtaking.

‘Five Little Pieces' is the fourth reincarnation of a former work for brass quintet, and was possibly earmarked in light of an initial request by the All England Masters contest in Cambridge as a possible set work in 1989. Each of the five miniatures that make up the piece is classically constructed along chamber music lines of texture and style. It's musical architecture is almost flawless in construction; technically challenging and musically inspiring, and Paul Hindmarsh has managed the almost impossible task of retaining the lightness of character in the music even when heavily scored.

That it is under ten minutes in duration may have been the reason why the composer thought it unsuitable as a set work for top class brass bands - but this would be wrong. Less is more, and this work presents so much more of a musical test to players and conductors than just about any other modern work of the past twenty years or more.     

The ‘Trombone Concerto' is also a reincarnation of a former work (an interesting link to the composers own beliefs in Karma and reincarnation), brilliantly played by Brett Baker, and throughout the three movements the sense of musical integrity and deep seated belief in the power of lyricism is palpable. This does not stop the composer the odd light hearted (and somewhat dry) piece of musical humour, but the end result is a work of immense and thoughtful power.

The more curious ‘French', a meditation of the hymn tune containing the words, ‘O God of Bethel' is something of a hybrid work.  It is though a very satisfying idiom, skilfully realised by Paul Hindmarsh after the composer's full score had petered out after a few pages, and the result is a beautiful reflective work with a powerful climax.

‘Annie Laurie' is a cornet solo, which for some reason was never published by the Salvation Army; and after hearing a superbly crafted performance of technique and musicality by Kevin Ashman, you can hear why – it is immensely difficult. It is of traditional format, along the lines as Hindmarsh points out, of Erik Leidzen's popular ‘Tucker', but it is a much more sophisticated work; unorthodox at times with distinct Heaton fingerprints in little coroners and cusps that make it a delight.

Finally, ‘Beulah Land', a substantial work started in the early 1990's and which through Hindmarsh's delicate re-ordering, detailed appreciation and expert analysis becomes a work of immense musical satisfaction.

It is Heaton's longest work for the Salvation Army (he tried it is said to cut it back to between 7 –8 minutes – it lasts a perfect 12) and is a three movement ‘waltz' that encompasses his vision of what awaits the Christian in heavenly paradise (Beulah Land being an old name for Heaven).    The first movement is lively in character based on the tune, ‘There is a better world, they say.'  The coda however is a reminder that Heaven awaits even the purest of souls on earth with an understated reflection of Stainer's melody ‘In Memoriam' – ‘There's a friend for little children above the bright blue sky'.    

The second movement is an elegiac cortege entitled ‘Heavenly Home' based on the tunes ‘My home is in Heaven, I have a home that is fairer than day' and ‘The Home over there,' whilst the third is a gloriously exuberant waltz that increases in both energy and complexity and is based on a jaunty version of the song, ‘There is a happy land far, far away.'

It completes a superbly constructed composition and ends the release in a fashion that will gladden the hearts of those who are admirers of one of our greatest brass composers.

Paul Hindmarsh must be congratulated for his superbly generous, incisive and moving achievement in realising these works in a fashion that the composer himself would surely have been proud of, whilst the production headed by Brian Hillson and Hindmarsh himself is of the highest quality. Hindmarsh's modesty belies his achievement; the listener's enjoyment should surely celebrate it.

Iwan Fox.   

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