Wilfred Heaton Edition

compiled by Paul Hindmarsh


Wilfred Heaton (1918 - 2000) composer, conductor and teacher, was born in Sheffield on 2 December 1918, the younger of two children of John, a cutler, and Miriam Heaton. The Heaton family were members of the Sheffield Park Corps of The Salvation Army. John Heaton was the bandmaster and his wife had a fine singing voice. It was natural for Wilfred's musical talents to be nurtured through The Salvation Army. He learned piano lessons at the age of eight and was after learning the cornet and composing music of his own. His long life in music was underpinned by wide-ranging interests in the arts, in philosophy, and by his strong religious background and faith.At times during, however, this creative impulse was often tested and questioned. 

Heaton left school at 14 to become an apprentice in a small brass instrument repair business at Sheffield, Cocking and Pace, where, apart from war service at the RAF, he continued until he closed the business in 1963. At 18 he gained his LRAM in piano, but was largely self-taught in composition. Heaton on a page of his work, the autobiographical Variations "I got help from a crippled musician [George Marshall], who had a very sound harmonic instinct, but who stressed contrapuntal studies above all, then from a local music master who initiated me into the wider world of chamber and orchestral music, and finally, a fate later [the 1950s] Matyas Seiber, whose instruction on Bach studies was invaluable.These are three with Whom I had personal contact, but alongwith other inspiring composers - the scores of the 18 th  century German Giants and the 20 th  century masters ".

It was expected that Wilfred would dedicate his musical talents to the Salvation Army, and in his own words, he continued to do a good job for the Army in his life. A number of pre-war pieces, like the March Praise and the Meditation Just as I am,  have become favorites throughout the brass band world. Others, like the Toccata, eventually found their way into print many years later.

In his 20's and early 30's, Wilfred's musical ambitions extended beyond the brass band to orchestral, vocal and chamber music. By the 1950's, Heaton's life started to take a different course. He had duties on the French horn and had a job as a peripatetic brass teacher, a move which in 1963 took the Heaton family to Harrogate. Much of the day-to-day work or instrument repair was left in the hands of Herbert Cocking, son of the former owner. When Cocking moved to the United States in 1964, the Sheffield business was closed . Wilfred played in a number of teachers' orchestras and ensembles. He was a founding conductor of the Dales Sinfonia. He formed and conducted the local schools youth orchestra.Between 1962 and 1969 he was Musical Director of the Leeds Symphony Orchestra. In 1970 he spent several months as a resident Musical Director of the Black Dyke Mills Band.

However, as his professional activities increased, Heaton's own creativity went into decline. He continued to arrange music with which he was involved, but he was very little. Another note on the score of Variations Offers Further explanation: "... all compositional ambitions were Brought to a halt through my contact with Rudolf Steiner's Anthroposphical movement. Involvement in this Seemed to dry me up. I dissolves the impulse to compose. Such an activity seemed unimportant compared to the spiritual impulses provided by Steiner. "Most of his spare time was now dedicated to a systematic exploration of the philosophical and spiritual disciplines postulated by Steiner in his prolific writings.Heaton came to an understanding of Steiner's approach to life, spirituality, reincarnation and karma through the influence of Arnold Freeman, professor of English Literature at Sheffield University and Warden of the Sheffield Educational Settlement, from 1947 Heaton had enrolled for later on courses on the arts , humanities and music. Steiner advocate techniques for the development of nature's cycles, or daily meditation, reading and clear critical thinking, leading to the fullness of higher levels of spiritual consciousness and clairvoyance. Heaton followed this path systematically for half his life.

However, from time to time he was pressured out of this creative semi-retirement, most notably in 1973, when he completed Contest Music , his only non-Salvation Army work published in his life-time. In his later years Wilfred was pleased, but always surprised, at the appreciative reception his music was by then receiving.

Although he never re-gained his old fluency, he was encouraged by family and friends - especially the conductor Howard Snell - to take up his composing pen once again. After the death of his wife, there was a welcome "Indian summer" - including Partita , two substantial concertos and two marches which, like Contest Music , were re-worked from earlier works, and his final Variations, he was almost finished when he died. Wilfred Heaton once said that there would be some surprise at what would emerge from his "unregarded corner". He was quite right. Most of this music has been realized for performance by Howard Snell and Paul Hindmarsh.It is testimony to Heaton's integrity, his strength, and his acquired skills that he was able to re-cast his youthful musical off-spring for some years or more after their conception.

Because of the lack of accurate composition dates, Heaton's music is listed according to genre and in alphabetical order

HF Heaton family
HS Howard Snell
KD Kenneth Downie
Mss Manuscript sources
PHM PHM Publishing
SA Salvation Army Territorial HQ, London
SP & S Salvationist Publishing & Supplies Ltd.
WHE Wilfred Heaton Edition
WHT The Wilfred Heaton Trust (www.wilfredheaton.fsnet.co.uk)


[COMPOSITION = WH01 Aberystwyth]
Meditation for brass band
Duration: 11 mins. MS : HF - Undated full score in ink, on Salvationist Publishing and Supplies manuscript paper, 18 pp single sided, landscape. Publication : © 2012 WHT; PHM, edited Paul Hindmarsh with subtitle The Healing Stream. 
 The date of composition of this substantial work is not known. It is the style and structure of the Salvation Army composer George Marshall and the episodic tone that characterizes his output. This would suggest that it dates from the 1930's . [/ COMPOSITION]

[COMPOSITION = WH02 Annie Laurie] Variations for cornet (or euphonium) and brass band (or piano) Duration : 9 mins.
MSS : 1. HF - original cornet and piano score in ink
2. HF - the original brass band score, also in ink, entitled Cornet Solo 'Annie Laurie' by Bandsman Wilfred Heaton. It was written on Salvationist Publishing and Supplies manuscript paper.
3. HF - full score (ink, portrait) or version 2
4. HS - full score (ink, portrait) or version 3
5. SA - non-holograph piano score of the original version, in the hand of Major Leslie Condon.
Publication : © 2003 WHT (PHM) ed. Paul Hindmarsh, in versions for cornet and band or piano. [/ COMPOSITION]

[COMPOSITION = WH03 Battle Hymn of the Republic] Arranged for brass band Manuscript : whereabouts unknown

This treatment of 'Mine eyes on the Glory' was written for the band of the Leeds Central Corps of the Salvation Army, which performed it in the 1970s. The manuscript score and parts appear to have been mislaid. [/ COMPOSITION]

[COMPOSITION = WH04 Beulah Land] Suite for brass band I. Better World - II. Heavenly Home - III. Happy land Duration : 11 mins MSS : HF

1. Short score sketch, in ink and complete in outline. It contains many amendments and cancellations. The third movement is particularly vague in detail. Containing a number of alternatives and notes about continuation, much of it hardly legible.
2. A neat, revised short score in pencil, written during the final phase of work. The first two movements are almost complete and there are some insert pages also in pencil.
3. A large number of sketches and early drafts.
Publication : 2006, SP & S (The Judd Street Collection), realized by Paul Hindmarsh

Wilfred Heaton commenced assemble material for Beulah Land in the early 1990s, following a request from the Amsterdam Staff of the Salvation Army for a new work. At this stage in his career, he would accept such invitations if there was material he could adapt, revise or re-write. It may be that the original ink sketch was penned many years earlier. Still reminding himself on the manuscript that he or she should not destroy, Heaton did not manage either task before his death. This performing edition was prepared during the Autumn of 2003 for the Amsterdam Staff Band (Howard Evans) to feature on an American tour. [/ COMPOSITION]

[COMPOSITION = WH05 Celestial Prospect] Variations for brass band
Duration : 9 mins.
: 1. HF - pencil sketches for the revised version; 2. The full score of the revised version is thought to reside with the Eastern Territory of the SA. The whereabouts of the original manuscript is unknown.
Publication: SP & S (Festival Series, No.481), September 1990

Composed in the late 1940s, this work was played on the International Music Board or The Salvation Army by the International Staff Band. It was not retained by the Music Department. Heaton revised the New York Staff Band in the late 1980s. [/ COMPOSITION] [COMPOSITION = WH06 The Children's Friend] Variations for brass band Duration : 8 mins. MSS : HF - a full score in ink (portrait) in the composer's later writing style and portion of an earlier draft in pencil. Publication: 2003, WHE (PHM) © Wilfred Heaton Trust, performing edition by Paul Hindmarsh Probably the Salvation Army's Triumph Series in the 1940s, this work remains unpublished in the composer's lifetime. [/ COMPOSITION] 

[COMPOSITION = WH07 Concerto for trombone and brass band (1992)]
Duration : 26 mins
MSS: 1. HS - final full score in ink 2. HF - preliminary full score in pencil, written on the reverse of the full score of Sinfonia Concertante
Publication: 2007, WHE (PHM) © Wilfred Heaton Trust, ed. Paul Hindmarsh [/ COMPOSITION]

[COMPOSITION = WH08 Contest Music (1973) for brass band]
Duration: 13 mins MSS: 1. HF - the first autographed full score in ink, with some minor additions added for the published version. 86pp, portrait.
2. Boosey & Hawkes - the final autographed manuscript
Date of composition: XII '72 - III '73
 at end of full score
Publication: 1982, Boosey & Hawkes [BBJ 931]

Heaton's most celebrated brass band work was elaborated from the compositions in the early 1950s. The finished work was commissioned for the 1973 National Brass Band Championship finals, but not used for the event until 1982. [/ COMPOSITION]

[COMPOSITION = WH09 Five Little Pieces for brass band] I. Grave - Prestissimo; II. Con energico; III. Cantabile; IV. Giocoso e rhythmic; V. Presto Duration : 9 minutes
Manuscripts : HF 1. Pencil and ink sketch on 2 or 3 staves, complete in outline, with many indications of instrumentation.
2. Further pages of sketches for the brass band version
3. Pencil sketch in full score of the first movement, showing significant changes in chord layout and part distribution to 1.
4. Incomplete full score draft of a version for solo instrument and band.
Publication: 2006, WHE (PHM) © Wilfred Heaton Trust, realized by Paul Hindmarsh

This work is based on the Little Suite for recorder and piano. It is possible that the sketch was prepared in response to an invitation from Philip Biggs to write a test piece for the All England Masters Championship in 1990. Heaton left the work in sketch form. The first performance of Five Little Pieces was given at the Grieg Hall, Bergen on January 16th, 2002 by the Eikanger-Bjorsvik Musikklag conducted by Howard Snell. [/ COMPOSITION]

[COMPOSITION = WH10 French] Choral Prelude for brass band
Duration : 6 mins.
MSS : HF 1. Full score in pencil or opening section
2. A complete short score draft, including several version for alternative endings and harmonisations
3. A page of different harmonisations of the hymn tune
4. A complete version in two parts, cornet and euphonium, apparently
5. Full score unfinished draft of a meditation on the hymn tune Chalvey
Publication: SP & S (General Series No.2043 ), August 2006, realized by Paul Hindmarsh

Wilfred Heaton Heather, this thoughtful meditation from earlier sketches on the tune French (also known as Dundee) probably in the 1960s. The score was lost and the composer did not look at it again until the last weeks of his life. He died before completing the new version, which has been realized from the surviving sketch material. The composer included two alternative endings, one short and loud and one extended and quiet. [/ COMPOSITION]

[COMPOSITION = WH11 Full Salvation] Concert March for brass band
Duration : 4 mins.
MS : HF - pencil sketch (5 pages) complete in outline, with revisions and corrections. The sketch is written on the reverse of pencil sketches Sinfonia Concertante a
nd Five Little Pieces . Full score is missing or not completed.
Publication : © 2010 WHT (PHM), realized by Paul Hindmarsh

Full Salvation was first performed by the Fairey Band at the Great Northern Brass Arts Festival, September 12, 2010, Bridgewater Hall, Manchester. [/ COMPOSITION]

[COMPOSITION = WH12 Glory! Glory!] Concert March for brass band
Duration : 7 mins.
MS : Dr. Peter Graham - the composer's full score and handwritten parts
Publication : 2002, WHM (PHM) © Wilfred Heaton Trust, performing edition by Paul Hindmarsh.

Glory! Glory! is a unique work in the brass band of the twentieth century, taking the traditional brass band into an unchartered territory. According to brass band conductor Bramwell Gregson, who discussed the work with the composer, it was recorded in the 1940s, but was destroyed because Heaton's father did not like it. The new version was re-recorded in 1988 and 89 in response to an invitation from composer Peter Graham for a short period of time. then the bandmaster.
In the original Trio, Heaton looks back nostalgically to his youth with a musical encounter, in Charles Ives style, between a Salvation Army band and Boy's Brigade buglers on the march.The out-of-tune bugles disrupt the progress of the Army band, reaching a crescendo and then fading into the distance, like ghosts or past generations.
Heaton had misgivings about this Trio section, refusing to reliably agree to release it for further performances. Feeling that the programmatic element 'outstayed its welcome', ie a shorter, more full-blooded alternative, that cuts out the out-of-tune buglers altogether. This second version has been included in this edition and can be performed in a place of the original if a more concise performance is desired. [/ COMPOSITION]

[COMPOSITION = WH13 The Golden Pen]
March Fantasy for brass band
Duration: 4 mins.
MSS: HF - Incomplete full score sketch, in pencil

Publication: 2001, WHE (PHM) © Wilfred Heaton Trust, performing edition by Paul Hindmarsh

The Golden Pen was given its first performance on 3rd February, 2001 in Manchester, at the Royal Northern College of Music Festival of Brass by the Williams Fairey Band, conducted by Howard Snell. A recording was broadcast on BBC Radio 3 on June 29th, 2001. [/ COMPOSITION] 

[COMPOSITION = WH14 Just as I am]

Meditation for brass band
Duration : 5 mins. 30 secs.
MS : Whereabouts unknown, presumed lost or destroyed
Publication : December 1947, SP & S (General Series No.1291 (1)) [/ COMPOSITION]

[COMPOSITION = WH15 Le Tricot Rouge] March for brass band
Duration : 3 mins.
MS : HF - full score in ink, with pencil alterations
: 2002, WHE (PHM) © Wilfred Heaton Trust, performing edition by Paul Hindmarsh 

Prepared for the Tewit Youth Band, possibly from an earlier Salvation Army march, Le Tricot Rouge received its first performance on 10 September 2000, at Symphony Hall, Birmingham, performed by the Black Dyke Band, conducted by Nicholas Childs (and recorded by BBC Radio 3). [/ COMPOSITION]

[COMPOSITION = WH32b Little Suite] for solo trumpet (or cornet) and brass band
Duration : 9 mins
MS : Incomplete full score draft of a version for solo instrument and brass band.
Publication : 2018, PHM, realization from sketches, with reference to Little Suite, Five Little Pieces and Five Bagatelles. [/ COMPOSITION] 

[COMPOSITION = WH16 Martyn] Hymn tune arrangement for brass band
: 3 mins.
MS : Whereabouts unknown, presumed lost or destroyed
Publication : March 1947, SP & S (General Series No. 1279 (1))

In The Salvation Army Song Book, this tune is associated with words calling for repentance from the death of sin. In this setting, dating from the late 1930s, Heaton offers three reflections on the tune, full or subtle harmonic variations, simply but effectively scored. [/ COMPOSITION]

[COMPOSITION = WH17 Mercy's Light] Festival arrangement for brass band
Duration : 8 mins.
MS : HF - draft full score. The present location of the final score has not been identified.
Publication : September 1992, SP & S (Festival Series No.498)

Mercy's Light , which emerged in the 80's, was probably in the 1940s. It is an extended waltz. The elegance of Ravel's False Nobles and Sentimentales , and the objectivity of a Satie Gymnopaedia , combine with nostalgic echoes or pre-war music to create the context for a beautiful tune set by Erik Leidzen. The first draft is much more heavily scored than the final version. [/ COMPOSITION]

[COMPOSITION = WH18 My Treasure] Selection for brass band
Duration : 8 mins. MS : Whereabouts unknown, presumed lost or destroyed
Publication : SP & S (Festival Series No.167), January 1950 [/ COMPOSITION]

[COMPOSITION = WH19 My Master's Will] Meditation for brass band
Duration : 6 mins.
MS : The present location of the final score has not been identified.
Publication : SP & S (Festival Series No. 319 (2)), January 1969

My Master's Will might be a sequel to Just As I Am . The tune used is The Fairest of Ten Thousand, used for the words 'At Thy feet I bow adoring, bending low and lower still'. Heaton's original name for the work was Adoration . Brian Bowen, who was working in the editorial department when the work was published, recalled how the name came to be changed: 'I was working in the editorial department in London when this score came to light and was played by the ISB (I played it). Heaton's score was titled " Adoration and I" was the title of the department that had already been used by Bramwell Coles much earlier and published. The editor changed it without Heaton's knowledge to My Master's , so much more of adoration (as indeed the text of the song makes clear). I love the piece.' [/ COMPOSITION]

[COMPOSITION = WH20 Partita (c.1947 / 1984)] Suite for brass band
I. Prelude ; II. Scherzo ; III. Canzona ; IV.
 : 26 mins
Manuscripts :
1. HS - the full score in the ink of the final version
2. HS - the full score in the ink of the original version, entitled Scherzo (see below)
Publication : 2002, WHE (PHM) © WHT

In 1947 and 48 heaton his first original work for brass band, without any Salvation Army associations. It was a Suite for brass band written under the pseudonym Paul Krask and dedicated to Eric Ball. Heaton sent the score to Ball, who at that time had just been appointed Professional Conductor of the CWS Manchester Band. Tom Hobson (1965), who was an agent at Sheffield for the SA Rosehill Assurance and employed by Tom Hobson (a friend and chief executive officer of Wardle High School, Rochdale) Collect insurance money each week from the Heaton's home in Stafford Road, Were walking up to the King's Hall at Belle Vue, Manchester, they were joined by Eric Ball. During their conversation, Ball said that he had tried the work through his new band,
In 1950, Heaton re-worked the Suite Op.1 for symphony orchestra, adding a new and vibrant scherzo. Some time later the new second movement and the final, suitably 'modernized', were incorporated into a Piano Sonata or Bartokian complexity and intensity - his longest work. Both of these works was still not heard for 34 years.
In 1984, two years after the successful competition debut or Contest Music at the finals of the National Brass Band Championships, the conductor Howard Snell, then Musical Director of the Desford Colliery Band, asked Heaton for a new work. What turned up shortly afterwards was the original brass Suite.In a letter to Heaton, Snell wondered whether the composer might have something more substantial for a second movement than the short original Scherzo . Shortly after that a new brass version of the orchestral Suite appeared, now re-titled Particle and containing the updated Scherzo . Partita was performed for the first time in the 1986 by Desford and Howard Snell. [/ COMPOSITION]

[COMPOSITION = WH21 Passing By]
Selection for brass band
Duration : 6 mins.
MS : HF - the original ink full score was returned to the Heaton family from the Ministries Department of the Salvation Army's UK Territorial Headquarters in 2002
Publication : SP & S (General Series No. 1271), September 1946

Written when Heaton was in his teens, the manuscript bears the editorial marks (in red ink) or the SA Music Editorial Department. The work was published without these alterations. [/ COMPOSITION]

[COMPOSITION = WH55a Pilgrim's Song]
Suite for narrator and brass band arranged by Paul Hindmarsh from incidental music for a dramatization or part one of Bunyon's Pilgrim's Progress. (See under Incidental Music)
Duration : 12 mins
MS : HF - original full score (in ink) of the complete incidental music |
Publication : © 2012 WHT, PHM

The suite has been arranged into four movements, using the following cues:
1. To be a Pilgrim - originally for piano, underscoring Christian's aspiration.
The Way of Salvation - a fast three-time movement for brass, indicative of the start of Christian's journey along the road to the Celestial City.

2. The Slough of Despond - an incisive episode for piano, slightly abbreviated, to left into Christian 's prayer - for brass, marked to be played with reverence;
At the Cross - a short pastoral, originally for piano

3. The Valley of Humiliation - Christian's early struggle is expressed in some biting biotality, originally on piano;
At the Celestial Gate - a vision of the Celestial City

4. Walk in the Strength of the Lord - a noble 'fanfare' leading to
Bright, Radiant, Blest - Heaton's final hymn

The first performance of the suite was given at Christchurch Priory on 27 May 2010 by Boscombe Citadel Band. Howard Evans. [/ COMPOSITION]

Festival March for brass band (or concert band, arr. Bowen)
Duration : 3 mins. (without da capo)
MS : Whereabouts unknown, presumed lost or destroyed
Publication : SP & S (Festival Series No.163), July 1949; R.Smith & Co. (Trade Winds), 2012, arr. For concert band by Brian Bowen

Ray Steadman-Allen confirms that the score of Praise had been in the SA's Music Editorial Department before the outbreak of War in 1939, along with a number of other Heaton works, including Passing By , Martyn and Just as I am . The SA did not publish any Festival Series music during the war period, resuming only in 1946. Praise was played by the International Staff in October. However, the backlog meant that it was not published until July 1949. It was seen through Steadman-Allen, who recalls how much he 'respected his touch'. [/ COMPOSITION]

[COMPOSITION = WH23 Sinfonia Concertante for cornet and band (1991)]
Duration : 26 mins.
MSs :
1. HS - the final full score in ink
2. HF - first full score in pencil and some pages of sketches
Publication : 2006, a facsimile of the original manuscript in WHE (PHM) © WHT

The Sinfonia Concertante was completed in 1991, at the suggestion of Howard Snell for Martin Winter and the Britannia Building Society (now Foden's) Band. [/ COMPOSITION]

[COMPOSITION = WH34a Scherzo for brass band]
Duration : 8 mins
Manuscripts : See Suite for brass band and Scherzo for brass quartet
Publication : © 2012 WHT (PHM), arranged by Paul Hindmarsh from the composer's original brass band Scherzo and the quartet version of Scherzo (see Chamber Music)

The first performance of this edition of Scherzo was given on January 23, 2010 at the RNCM Festival of Brass, Manchester, by the Foden's Band, conducted by Garry Cutt. [/ COMPOSITION]

[COMPOSITION = WH36a Sweet Hour or Prayer arranged for trombone and band]
Duration : 3 mins.
Publication : © 2012 WHT (PHM), arranged for trombone and brass band by Paul Hindmarsh from the composer's original version for trombone and piano (See under Instrumental Music).

Sweet hour of prayer was a much loved devotional song on both sides of the Atlantic during the 19th and 20th centuries. The tune Sweet hour is the work of William B. Bradbury (1816 - 1868), a celebrated New England hymn-tune writer, among whom familiar melodies are He leadeth me , I think when I read that sweet story of old , Solid rock and Jesus loves me . Sweet hour first appeared in Bradbury's final publication Bright Jewels (New York, 1869)

Wilfred Heaton made a sensitive and touching treatment for trombone and piano for his son-in-law, Bryan Stobart. This version for trombone and brass band was arranged by Paul Hindmarsh in November 2005 and dedicated "To Bryan Stobart, in friendship". [/ COMPOSITION]

[COMPOSITION = WH24 Toccata 'O the blessed Lord']
Duration : 6 mins.
MS : Whereabouts of the autograph full score is unknown; presumed lost or destroyed.
Publication : SP & S (Festival Series, No. 354), September 1973; Trade Winds arr. For concert band by Alastair Wheeler

In 1939, Heaton was invited to write a short work for the SA's music editor-in-chief, Bramwell Coles, to take on a visit to the United States. Music for brass sextet (See Instrumental Music) was the result, but it was not considered too difficult.
After returning from RAF war service in Egypt, Toccata was revised for full brass band and submitted to the SA Music Editorial Department for future consideration. It was rehearsed and performed by the International Staff Association. This was a great disappointment to the composer, who had traveled from Sheffield to the Salvation Army Publishing and Supplies Headquarters in Judd Street, which had been given to the SA's Music Board.According to his sister, who as Captain Hilda Heaton was a tutor at the SA's Training College at that time, her brother had expressed the wish that he had been able to rehearse the band in advance of the performance. He was in no doubt that he could have made them play it.
Toccata remained in a collection of manuscripts inherited by Ray Steadman-Allen, when he became the Chief Editor of the SA's Music Editorial Department. R SA recalls that it was at the suggestion of Col. Bernard Adams, the distinguished and long-serving conductor of the ISB, that Toccata was tasks out again and successfully performed, recorded and published.It was this imaginative intervention that ultimately led to the status of the world-wide brass band repertoire. Brian Bowen, flugelhorn player when the work re-emerged in the 1960s recalls that:

There was no percussion, or no Timpani part in the full score. Bert Thompson, who played timps then, told me at the time that he personally contacted Heaton, asking for a timp. part - and got it. I always thought that Bernard Adams was not involved in it at all!

The work was published without percussion as the composer intended. It is based on the verse of the American spiritual, O dem golden slippers , to which Salvationists sang the words 'Oh, the blessed Lord, he has saved my soul' [/ COMPOSITION]

[COMPOSITION = WH25 Variations for brass band]
Theme Legatissimo
Variation 1 Grazioso
Variation 2 Molto Adagio
Variation 3 Vivace
Variation 4 Tempo primo
Variation 5 Placido
Variation 6 La voce popolar I - Marche military
Variation 7 La voce popolare II - Cantilena
Variation 8 La voce popolare III - Galop
Variation 9 Grave
Variation 10 Adagio (Interlude)
Variation 11 Threnody for Charlotte Anne Stobart
Variation 12 Adagio - Allegro (Chorale)

Duration : 30 mins
Dedication : 'with admiration and gratitude to Howard Snell'
MSS : HF - incomplete full score; fair copies in pencil short score of the work, with the exception of Variation 8; sketches for Variation 8
Publication : 2006, WHE (PHM) © WHT, realized by Howard Snell

Theme and variations 1 to 4 were completed by the composer in full score. Variations 5 to 7 and 9 to 12 were completed in annotated pencil short scores, with some indication of instrumentation. There are also many pages of sketches and drafts, including Variation 8 (Galop), which is complete though extremely fragmentary. Howard Snell's realization has included the scoring of Variations 5 to 12, the adjusting of certain dynamic levels - especially in Variation 11 - and the drawing together of Variation 8, which exists in alternative versions. Howard Snell's completion and in particular his choice of ending was made in the work as a whole. Towards the climax of Variation 12 (bars 538, 542 and 543),Snell has added three bars or bass figuration not in the sketch material to preserve the continuity of the line. These are given in smaller notes.
Wilfred Heaton was aware that works of the length and substance or Variations are not easy to program in brass band concerts, as this note to Snell on a sketch page for Variation 6 makes clear, "I do not think you will ever be printable to perform the piece. It's more of a document than a blueprint for performance, Because rehearsals for Difficult, unfamiliar music are Hardly possible while a band is being prepared for a contest. But you might keep the score among your souvenirs! I have no illusions about a performance in my life-time, if ever.But it does not matter - the task is "carried out" and the sound is in my head anyway.
The first performance was given on Wednesday January 16, 2002 at the Logen Hall, Bergen, Norway by Eikanger-Bjorsvik Musikklag conducted by Howard Snell.
It is clear from these remarks that Wilfred Heaton did not consider Variations to be a competition piece. However, once an episodic work like Variations is in the public domain, performances or portions of it will be considered. The Trustees of the Wilfred Heaton Trust have sanctioned the following abridged versions:

1. Theme, Variations and Chorale
Theme Legatissimo
Variation 1 Grazioso
Variation 2 Molto Adagio
Variation 3 Vivace
Variation 4 Tempo primo
Variation 8 La voce popolare III - Gallop
Variation 11 Threnody for Charlotte Anne Stobart
Variation 12 Adagio - Allegro (Chorale)

Duration : c.18 minutes

2. La voce popolare (from Variations)
Theme Legatissimo
Variation 6 Marche military
Variation 7 Cantilena
Variation 8 Galop

Duration : c.8 mins 30 secs

3. La voce populare I, II and III may also be performed as separate items. [/ COMPOSITION]

[COMPOSITION = WH26 (Variations on a Children's Tune)]
MS: HF - incomplete pencil full score of a work for brass band based on the tune Jesus bids us shine [/ COMPOSITION]

[COMPOSITION = WH27 Victory for Me]
Festival arrangement for brass band
Duration : 4 mins.
MS : Whereabouts unknown
Publication : SP & S (Festival Series, No.380), March 1977.

Victory for Me is a Ravel-inspired bolero treatment of the tune 'My beautiful Home', which is also associated with the words 'There's victory for me'. Brian Bowen was the flugelhorn player when the work was first played by the International Staff at the Fairfield Hall, Croydon in the 1960s.
The occasion was an all-London Bandsmen & Songsters Council on Sunday In the afternoon session it was decided that the ISB should give a demonstration of sight, and this was the only way to go on stage. I suspect Ron Symonds on the side drum was shaking a bit when he saw his part, and I had some work to do at one section. [/ COMPOSITION]

[COMPOSITION = WH28 Wonderful Words]
Duet for two cornets and brass band
Duration : 4 mins.
MS : HF - composer's autograph containing marks used by the publisher.
Publication : 1954, SP & S (Festival Series, No.204)

In his later years Heaton was rather dismissive (to me) or his lively cornet duet Wonderful words. "It's in the wrong key" was his response when asked what he thought of it. He considered it would be more effective at a key higher. The cornet parts are relatively low in the range at times, but there is enough virtuoso passage to work the best of cornetists.

Other sketch material:

New Every Morning Pencil sketches

March in 6/8 Pencil sketches [/ COMPOSITION]


[COMPOSITION = WH02a Annie Laurie]
Variations for cornet and piano (See above for details) [/ COMPOSITION]

[COMPOSITION = WH29 Berceuse Elegiaque for clarinet and piano]
MS: HF - short score of the theme, with sketches for variations.
Unpublished in this version (See Babe born this day below)

Berceuse Elegiaque was a clarinet study for Wilfred Heaton's grand-daughter Emma Stobart. It is dedicated to the memory of her sister Charlotte and was written as an exercise in smooth legato phrasing. It is a theme for variations, which were not completed. [/ COMPOSITION]

[COMPOSITION = WH30 Five Bagatelles for brass quintet (2 trumpets, horn in F, tenor trombone, tuba)]
I. Grave - Presto ; II. Con energia ; III. Cantabile ; IV. Deliberamente ; V. Presto
: 9 mins.
MS : HF - draft full score in pencil and fair copy in ink.
Publication : © 2006 WHT (PHM) performing edition by Paul Hindmarsh.

When Fine Arts Brass requested a work in 1989, Heaton re-worked a Little Suite for recorder and piano from the 1950s into a suite of Five Bagatelles . He also sketched out a different version for brass band at this time, entitled Five Little Pieces (see above).
Writing for two C trumpets, the first trumpet part and the second. It was a request from the artist that we had to work before it was performed. However, with the valuable practical advice from Simon Lenton, the leader of the quintet in 2002, trumpets in B flat, including piccolo trumpets in B flat and A for passages or extreme register.
The premiere of this piece finally took place 14 years after its preparation - by Fine Arts Brass, at St. John's Church, Chester as part of the 2003 Chester Festival, later broadcast on BBC Radio 3. [/ COMPOSITION]

[COMPOSITION = WH31 I will follow Thee my Savior]
Air variation for cornet and piano
MS: HF - autograph score in ink

This is one of young Wilfred Heaton's first attempts at extended composition [/ COMPOSITION]

[COMPOSITION = WH32 Little Suite for recorder (flute) or trumpet (cornet) and piano]
I. Grave - Presto ; II. Con energia ; III. Cantabile ; IV. Deliberamente ; V. Presto
: 9 mins
MS : HF - the composer's final score for recorder and piano, inscribed 'for Philip Rodgers'
Publication : 2002, WHE (PHM) © WHT, for recorder / flute and piano; 2010, adapted for trumpet or cornet and piano by Paul Hindmarsh.

Little Suite was for blind recorder player and fellow Sheffield Anthroposophist Philip Rodgers. Whether Rodgers and Heaton, who was a fine pianist, ever performed the work in public is unknown. The first documented performance was given by John Turner (recorder) and Keith Swallow (piano) at the Royal Northern College of Music on 2 October 2001.
The original piano part has also been orchestrated for strings, a precedent set by the composer, whose own string orchestral version is lost or destroyed. (see below) [/ COMPOSITION]

[COMPOSITION = WH33 Music for brass sextet ( Toccata )]
for 2 cornets, tenor horn, baritone, euphonium, tuba
Duration : 6 mins.
MS : HF - the composer's autograph was returned to the Heaton family by the Music Ministries Department of the Salvation Army (UK Territory) in 2005
Publication : © 2006 WHT (PHM) performing edition by Paul Hindmarsh, with optional parts for trumpets, horn in F and tenor trombones

In 1939 Heaton was invited by the International Music Editor, Bramwell Coles, to write a short-term work for the future of music. Like a number of Heaton's other works, it was not too difficult and was not used. Heaton called his sextet simply 'Music'. The essentials of this and the later full-band re-working are the same, but there are many minor differences and a few major ones for the sharp-eared listener. The melodic writing is perhaps not as refined. The level of harmonic dissonance is considerably higher. Most surprising of all is the absence of emphatic 'full-stop' chord at the end.
Heaton was never convinced that this piece should be published, but it is one of the few surviving examples that vibrant and confident young Wilfred Heaton was, relishing his creative powers. [/ COMPOSITION]

[COMPOSITION = WH34 Scherzo for brass quartet (2 cornets, tenor trombone and bass trombone)]
Duration : 8 mins.
MS : Royal Danish Brass - full score
Publication : 2007, WHE (PHM) © WHT, performing edition by Paul Hindmarsh, with optional parts for trumpets, tenor horn and euphonium.

This brass quartet, composed in 1937, was given to long-time Heaton enthusiast, Mr. Richard Mott in 1968. Resident in Denmark, Richard Mott with Heaton on three occasions, in 1968, 1981 and 1982. Mott also passed it on to trombonist Keld Jørgensen, the manager of the Royal Danish Brass. The music remains in the ensemble's archive for many years, until an opportunity Arose early in 2007 for the Scherzo to receive a belated premiere, heating How many followers place on January 7th at Støberihallen in Hillerød, north of Copenhagen.
In 1946 or 47, the fast music of the Scherzo was elaborated into the first Scherzo of the Suite for brass band.Cast in ternary form, this energetic but tuneful section frames a sustained hymn like central Trio. The rhythmic impulse reveals a neo-classical thrust, informed by a Walton-like syncopation.
While the instrumentation of the work does not conform to the 'standard' brass quartet. It is likely that Heaton was in favor of the quartet of young cornetists and trombonists from Sheffield Park Corps or The Salvation Army in which he played. Alternative parts for horn and euphonium are included in this edition. A version for full brass band is also published (see above). [/ COMPOSITION]

[COMPOSITION = WH35 Three Pieces for Piano Op.2 (1954)]
I. Tempestuoso ; II. Andante tempo rubato ; III. Vivo

MS : HF - the composer's undated holograph
Publication : © WHT (PHM)

In terms of their harmonic and textural content, these three short pieces, dated 1954 on the SPNM program notice, are among the most ambitious works that Heaton has. The principal influence on the language is Bela Bartok, the Hungarian composer whose work Heaton came to admire through his teacher Matyas Seiber. The 7th of September 1954 at the Great Drawing Room of the Great Britain, 4 St. James's Square, London. The pianist was James Gibb and the concert also included works by Stanley Glasser and Elizabeth Maconchy. The occasion was the 165th monthly Studio Recital promoted by the Society for the Promotion of New Music. The SPNM had been founded by Francis Chagrin with Seiber in 1943 to give a platform for new writing by British composers.(Each work continues as a means of providing more opportunities for emerging composers under the name Sound and Music.) Each recital was followed by discussion. On this occasion the distinguished composer and teacher Alan Bush was in the chair.

Although the composer's manuscript is undated, the program published by SPNM gives the year of composition as 1954, making the Three Piano Pieces among the last works Heaton, composed during his productive late 20s and early 30s. [/ COMPOSITION]

[COMPOSITION = WH36 Sweet hour or prayer arranged for trombone and piano]
Duration : 3 mins.
Publication : © WHT (PHM) [/ COMPOSITION]

[COMPOSITION = WH37 Sonata for piano]
Duration: c. 30 mins
1. Fair holographic copy in ink or movements 1, 2, 3 and part of 4, with some indications of dynamics and tempo
2. Pencil drafts of movements 2 and 4
Publication : A performing edition is in preparation

This substantial work was in the early 1950s. The material is a re-working of the Suite for orchestra. Movement 1 is a re-composition of the Suite's Prelude. It is counterpointally and harmonically much elaborated, using the principal motifs as the basis for a new work. Movement 2 remains much closer to the revised Scherzo or Partita, but re-written in terms of the piano. The third movement is new and has more in common with the melodic character of the central movement of Contest Music than the Canzona from Partita. The final is an elaboration of the original finale.

This ambitious work was left complete in its musical notes, but lacks dynamics and tempo markings. In the performing edition current under preparation, these are being supplied with reference to orchestral and brass band originals. [/ COMPOSITION]

[COMPOSITION = WH38 Three West Indian Melodies for piano (4 hands)]
Publication : © WHT (PHM) [/ COMPOSITION]


[COMPOSITION = WH39 The Army's Marching Song]
Heaton's earliest published work, in which he is identified as YP band-lad JWHeaton
Publication : SP & S (The Musical Salvationist) [/ COMPOSITION]

[COMPOSITION = WH29a Babe born this day]
Christmas Song for SATB, adapted from Berceuse elegiaique by Paul Hindmarsh, text by Kenneth Tout
Publication : WHE (PHM) in association with WHT [/ COMPOSITION]

[COMPOSITION = WH40 A City Prayer]
Anthem for SATB, text by Kenneth Tout
Publication : SP & S (The Musical Salvationist) [/ COMPOSITION]

[COMPOSITION = WH41 Eternal Decision]
Easter Song for SATB, text by Kenneth Tout
Publication : WHE (PHM) in association with WHT [/ COMPOSITION]

[COMPOSITION = WH42 Intercede, O Lord]
Anthem for SATB, text by Kenneth Tout
Publication : SP & S (The Musical Salvationist) [/ COMPOSITION]

[COMPOSITION = WH43 Marred for me]
for male voice choir, text by AEMingay
Publication : SP & S (The Musical Salvationist, vol.LI, part ix.), September 1937 (Rep. 1958) [/ COMPOSITION]

[COMPOSITION = WH44 Norwich, hymn tune by band boy J. Wilfred Heaton]
Manuscript : HF, Heaton's earliest surviving composition
Unpublished [/ COMPOSITION]

[COMPOSITION = WH45 Four Old Spirituals]
including an arrangement of Little David play on your harp
Work missing [/ COMPOSITION]

[COMPOSITION = WH46 Our Glorious King]
for SATB choir and piano, by WHWindyback
Manuscript : Whereabouts unknown
Publication : SP & S (The Musical Salvationist, vol.LIII, part viii) [/ COMPOSITION]

[COMPOSITION = WH47 Safe in the Promised Land]
Spiritual for male voice choir and brass ensemble and / or piano
Manuscripts : HF
       1. Original version (in ink) for chorus and brass (in A flat)
       2. Revised version in pencil with added piano part (in B flat). This version includes pencil marginal notes for performer / publisher.
It would appear that Heaton was considering sending this to Brian Bowen or the International Staff of the Salvation Army
Publication : WHE (PHM) in versions for male and mixed voice choirs [/ COMPOSITION]

[COMPOSITION = WH51a A Shepherd's Carol]
Christmas Song for SATB (unaccompanied), melody from The King's Threshold, arranged by Paul Hindmarsh, text traditional (Sheffield) 
Publication:  2018 PHM [/ COMPOSITION]

[COMPOSITION = WH48 The Lord Reigneth]
Anthem for SATB and organ
Manuscript : HF
Unperformed and unpublished 
One of Wilfred Heaton's earliest compositions [/ COMPOSITION]


[COMPOSITION = WH49 King Lear (William Shakespeare)]
Manuscript : Whereabouts unknown, presumed resolves
Heaton's apprentice at Cocking and Pace, Herbert Cocking, recall playing fanfares composed by Heaton for a Little Theater production (Sheffield) in the early 1950s. [/ COMPOSITION ]

[COMPOSITION = WH50 The First Born (Christopher Fry)]
Manuscripts : Arnold Freeman Collection, University Library, Sheffield, Cat. No. 91/44/36/1: Four fragments including a 28 bar vocal line for the character Teasret.
Christopher Fry's three act play, based on the birth of Moses, was produced by The Little Theater between 16 and 25 July, 1951. [/ COMPOSITION]

[COMPOSITION = WH51 / 52 The King's Threshold (WBYeats) / The Mother (Marjorie Ecclestone)]
Manuscripts : Arnold Freeman Collection, University Library, Sheffield, Cat. No. 91/44/45/4: 20 bars recorder solo entitled The Mother , marked to be played off-stage and an accompanied song in folk-song style, setting lines from The King's Threshold .

Heaton thesis composed two short unacompanied items for a production by The Settlement Players, Christmas 1949, or two short plays. [/ COMPOSITION]

[= WH54 COMPOSITION The Mighty Magician (Pedro Calderon de la Barca, Denis McCarthy trans.)]
Manuscripts: Arnold Freeman Collection, University Library, Sheffield, Cat. No. 91/44/58/6: three unaccompanied vocal fragments to be sung by the character Justina. The Little Theater production took place during June 1952. [/ COMPOSITION]

[COMPOSITION = WH55 The Pilgrim's Progress for piano, brass ensemble and choir]
Manuscripts : HF - full score and script typescript
Publication : WHE (PHM) in a Suite for band and optional narration by Paul Hindmarsh, see WH55a) [/ COMPOSITION]


[COMPOSITION = WH07a Concerto for Trombone and String Orchestra]
adapted from the Concerto for Trombone and Brass Band and the Rhapsody for Oboe and String Orchestra by Paul Hindmarsh
Publication : 2013, WHE (PHM) - available for purchase and hire [/ COMPOSITION]

[COMPOSITION = WH37a Lento for String Orchestra]
adapted from the third movement of Piano Sonata by Paul Hindmarsh
Publication : 2013, WHE (PHM) - available for purchase and hire [/ COMPOSITION]

[COMPOSITION = WH32a Little Suite for Flute (recorder) and String Orchestra]
arranged by Paul Hindmarsh
Publication : 2013, WHE (PHM) - available for purchase and hire [/ COMPOSITION]

[COMPOSITION = WH55 Rhapsody Op.1 (1952) for Oboe and String Orchestra]
Duration : 23 mins
Manuscripts : HF - the composer's holographic full score, including many pencil alterations for the trombone version, and a fair copy of Kenneth Smith , with a few holograph amendments. [/ COMPOSITION]

[COMPOSITION = WH23a Sinfonia Concertante for Trumpet (or cornet) and Orchestra]
Projected [/ COMPOSITION]

[COMPOSITION = WH57 Suite for Orchestra (Partita)]
Manuscript : HS
Publication  : WHE (PHM) available for hire [/ COMPOSITION]


[COMPOSITION = WH57 Hay Harvest]
Manuscript: KD [/ COMPOSITION]

[COMPOSITION = WH58 Glory to His Name]
for solo voice, choir and piano; words by AEMingay
Publication : SP & S [/ COMPOSITION]

[COMPOSITION = WH59 My Jesus I love Thee]
words by Ralph Featherstone
Manuscript : KD 
Publication: PHM [/ COMPOSITION]

[COMPOSITION = WH60 On the Road]
words by AEMingay
Re-publication : SP & S (Vocal Solos No. 2, p.90), 1964 [/ COMPOSITION]

[COMPOSITION = WH61 The Dove's Answer]
words by Jean Ingelow
Manuscript : KD [/ COMPOSITION]

[COMPOSITION = WH62 With Empty Hands]
words by AAMingay
Manuscript : KD
Publication : PHM [/ COMPOSITION]

[COMPOSITION = WH63 Welcome for me]
Manuscript: KD
Publication : SP & S (The Musical Salvationist, vol.XXXIV, part 4), October 1970 [/ COMPOSITION]


[COMPOSITION = WH64 Anvil Chorus (from Il Travatore), Verdi]
orchestra parts arr. For brass band
Manuscript : HF - score and parts [/ COMPOSITION]

[COMPOSITION = WH65 Ballet Music No. 2 from Rosamunde (Schubert)]
Brass Octet (3 cnts, Eflat horn, baritone (part missing), euphonium, trombone, Eflat tuba
Manuscript : HF - arranged for James Shepherd Versatile Brass
Publication : PHM [/ COMPOSITION]

[COMPOSITION = WH66 Border Ballad (JHMaunder)]
for male voice choir, accompaniment arr. For brass 
Manuscript : HF - parts [/ COMPOSITION]

[COMPOSITION = WH67 Canzona Decima 26 'La Negrona' (1608) by Pietro Lappi (1575-1630)]
Brass Octet (3 cnts, Eflat horn, baritone (part missing), euphonium, trombone, Eflat tuba 
Manuscript : HF - arranged for James Shepherd Versatile Brass [/ COMPOSITION]

[COMPOSITION = WH68 Dance of the Tumblers (Rimsky-Korsakov) arr.for brass band)
Manuscript : Missing, last-located at Black Dyke Band
Publication : WHE (PHM) in association with WHT [/ COMPOSITION]

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