Thomas Pitfield (1903-1999)
Piano Music
Duncan Honeybourne (piano)
rec. 2024, Wyastone Concert Hall, Monmouth, UK
Heritage Records HTGCD132 [69]

Thomas Pitfield, a self-taught composer from Bolton, Lancashire, studied piano, cello and harmony at the Royal Manchester College of Music. Known for his playful, folk-inspired style, he wrote concertos, chamber music, cantatas and opera. He later taught at the RMCM and then at the Royal Northern College of Music. He mentored such figures as John Ogdon, Ronald Stevenson and John McCabe. Beyond music, he created many poems and much artwork, and wrote four autobiographies. He remained creative into his nineties.

I am beholden to John Turner and Duncan Honeybourne, the liner notes’ authors, for information about the repertoire on this disc.

The recital gets off to a great start with the “bravura” Toccata dedicated to the pianist and teacher, Lucy Pierce. The “rhythmic insistence” is tempered by a surprisingly lyrical interlude. It would make an ideal encore. There follows the quieter Solemn Pavan, sustained and hymn-like in its peaceful exposition. Dance forms inspire The Circle Suite, devised for a group of musicians in Bolton. The notes suggest that each piece reflects the character of the dedicatee. There is a lively Bourree, a tender highly pitched Minuet, a thoughtful Pavan and a slightly introverted Jig.

The Capriccio, which may have been a movement from an unfinished Piano Sonata, was published early in Pitfield’s career. It contrasts lively figurations with brittle chordal interruptions.

Duncan Honeybourne considers Diversions on a Russian Air to be one of Pitfield’s finest compositions. It was dedicated to the legendary pianist John Ogden. This is a short set of variations on the tune The Blacksmith. With their scalar runs, unsuspected modulations and occasional dissonances, it is certainly diverting.

The Novelette in F (No.1) is calm by comparison, although there are a few spicy twists and turns as the exposition continues. It was dedicated to the pianist Stephen Wearing, who had premiered Pitfield’s Piano Concerto No.1 at the Liverpool Philharmonic Hall on 12 November 1949.

The Three Bagatelles are not really a set: they were written at various times. They are more than “short pieces of no deep content”, especially so the Bagatelle No.2 which nods to Francis Poulenc in its mood and vitality. The third is fascinating in the initially graceful progress and the eccentric 7/16-time signature of the middle section.

“Infectious swagger” and “refined lightness of touch” characterise the Impromptu on a Tyrolean Tune. This would make another splendid encore. Two Russian Tunes feature the animated Nursery Song (The Billy Goat), and the calm, “bewitching” Cossack Cradle Song.

Thomas Pitfield wrote three piano sonatinas, one in A minor in 1942, another as “easy” teaching material, and the third – given No.2 – late in his life. Like many sonatinas, it is not really for the tyro. A vibrant Allegro poco serioso is followed by a pessimistic but quite lovely Threnody. There are some attractive harmonic sideslips. Folk song underscores the “rollocking” finale with cross rhythms and surprisingly big, heavy chords in the coda.

The Five Short Pieces were probably “educational” material, but none the worse for that. Other than the more involved Crooning, they last under a minute. The short movements are a Prelude, Dance-Miniature, Bagatelle and Merry-Go-Round. This would be a joy to play for the moderately accomplished learner.

Pitfield’s best-known piano work is the Prelude, Minuet and Reel. It is one of the precious few to have been given a recording, firstly by John McCabe on Contemporary British Piano Music Vol.2 (ACS CD CD3, 1998). There appears to have been an earlier version which McCabe released on RNCM RNCMTP3 in 1994 (reissued in 2015 by Heritage Records, HTGCD 210). Duncan Honeybourne has previously recorded it in 2013 on EM Records (EMR CD012-013).

John Turner wrote that the Prelude, Minuet and Reel “put Pitfield’s music on the map” after being “taken up” by the Australian pianist, Beatrice Tange. First comes a vigorous toccata-like movement, then a pensive Minuet whose style has been likened to Maurice Ravel’s. Finally, there is the barnstorming Reel that sounds like nothing ever danced to. It ends with a “veritable barrage of common chords” which are “hammered”. This notable work deserves to be widely performed.

After this rumbustious music, the Little Nocturne is a perfect contrast. It would appear to be from late in the composer’s life. There is a magic here that defies analysis. There follows a “chattering” Humoresque in the rare time signature of 12/8. It is entertaining, with the serious “middle eight” bringing some seriousness.

If you did not know that Homage to Percy Grainger was by Pitfield, you might imagine that it was penned by the legendary man himself. Dedicated to fellow North Countryman Ronald Stevenson, a fellow enthusiast, it reflects Grainger’s typically wayward harmonies and clattering figurations. It is based on the Irish folk melody So Far from my Country.

The liner notes tell us that Pitfield heard the first section of the Cameo and Variant in a dream on 22 June 1993. He jotted it down on getting out of bed. It is a charming, gentle way to end this fascinating recital.

Duncan Honeybourne needs no introduction to British music enthusiasts. He is a highly regarded English pianist, educator and author, specialising in the performance of 20th and 21st-century British piano music. He has premiered many piano works, toured internationally, and recorded extensively. Honeybourne teaches at the Royal Academy of Music Junior Academy the University of Southampton. He gives masterclasses and lecture recitals.

John Turner and Duncan Honeybourne’s exceptional liner notes provide an ideal introduction to Thomas Pitfield, and commentary on the music. Each number is introduced by Turner and then reflected on by Honeybourne. It is a helpful format, especially for the reviewer! The cover picture is a reproduction of Pitfield’s sketch “Knutsford”.

Pitfield’s music has echoes of several composers: Ralph Vaughan Williams, Percy Grainger and Frederick Delius. Occasionally, the neo-classicism of Poulenc and other members of Les Six appear. His music is often light-hearted, lyrical, rhythmically adventurous, and it nods to folk song. There is nothing challenging in this recital, yet every piece is of interest. This exploration of largely unknown repertoire is a brilliantly executed treat for all lovers of English piano music.

John France

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Contents
Toccata (1953)
Solemn Pavan (1940)
The Circle Suite (1938)
Capriccio (1932)
Diversions on a Russian Air (1959)
Novelette in F major (No.1) (1953)
Three Bagatelles (1950s)
Impromptu on a Tyrolean Tune (1957)
Two Russian Tunes (1948)
Sonatina No.2 (n.d.)
Five Short Pieces (1932)
Prelude, Minuet and Reel (1932)
Little Nocturne (n.d.)
Humoresque (1957)
Homage to Percy Grainger (1978)
Cameo and Variant (1993)