Betty Roe: The first 80 years
by Iain Snedden
Betty Roe is a prolific composer, best known for her solo songs,
church and choral music, revue songs, musicals, and music for
schools. The majority of her works are for smaller forces largely
because she has not yet had the opportunity to write a concerto
Roe’s musical education and love of English early and
“light” music give her works a characteristic feel.
The music always engaging and melodic and her word setting is
instinctive, following the rhythm of the poem/libretto she is
setting. This leads to vocal works which are a joy to sing and
easy for the performer to communicate directly with their audience.
by Simone Canetty-Clarke
Eileen Betty Roe was born on 30 July 1930 in North Kensington,
London, England, next-door but one to the house in which she
now lives. She started playing the piano aged 6 and got her
first opportunity to shine at age 11, after volunteering to
play the piano for dancing during a rainy school break. Her
headmaster, George Pressy, was impressed and sent her home with
a letter offering free Saturday Morning tuition as a Junior
Exhibitioner at the Royal Academy of Music. For her audition
she played In a Monastery Garden by Ketèlby. Margaret
Donnington explained that the Royal Academy did not accept that
kind of music and asked if she had another piece. In a Persian
Her Junior Exhibitioner scholarship entitled her to a place
in a grammar school where learned a great deal playing reductions
of symphonies for four hands with her class teacher, Barbara
Roe could play the popular music of the day by ear and would
often find herself playing the accordion for entertainments
in her street’s air raid shelter during the blitz.
Although she received a distinction in music, she failed her
General School Certificate and went to work as a clerk at the
Associated Board of the Royal School of Music. In 1949 Roe returned
to the Academy where she continued studying piano, now with
York Bowen, and ‘cello with Alison Dalrymple. Learning
the ‘cello gave her an insight into bowing and phrasing.
Later she studied singing with Jean McKenzie-Greive and Clive
After the war the popular entertainment of the day became Intimate
Revue; short topical sketches, often with music, such as Flanders
and Swann. In 1953 Roe started to write the music for satirical
material and perform with members of a drama group. These Intimate
Revues were very successful and she, lyric writer Maurice Holstock
and pianist John Bishop were hired to perform in late night
revue at the Irving Theatre in Leicester Square. Holstock would
often write a lyric based on the morning news, then post it
to Roe for the musical setting ready to perform the next evening.
Numbers were also provided for musicals and an All Fools Day
concert at the Festival Hall. Some of the songs from this period
survive in the Samuel French archive including the collection
Openers and Closers and songs from Off the Cuff.
to R: John Bishop, Betty Roe, Maurice Holstock
It was during this period that she married John Bishop and
had three children; twin girls in 1958, now both musicians,
and a son in 1961, now a recording engineer.
In 1962, Roe took part in the Ashwell Festival as a member of
the Cunningham Singers, an ad hoc group of London based singers
who came together to perform at the festival.. The festival
had been set up in 1953 as a summer school for young people
and the participants included Peter Naylor, Malcolm Williamson,
John Russell and Alan Ridout.
On hearing Roe’s canticle settings of the Magnificat
and Nunc Dimitis (1962), Malcolm Williamson commented that
she had adopted his style. Roe pointed out that she was his
senior. Williamson arranged for the Canticles to be published
by Joseph Weinberger.
Having heard the Canticles, Roe was approached by John Catterick
the Rector of Ashwell Parish Church to set some words he had
written. Roe expected a single poem but the five section libretto
arrived as ten foolscap sheets covering the story of Christ’s
Christus Victor (1964) sets out to express the joy of
Easter in song, narration and dance. The piece maximises the
participation of both the performers and the Audience including
roles for contralto and baritone soloists, mixed chorus, narrators,
speaking chorus, dancers and instruments, including organ. Where
familiar hymn tunes were used to encourage the audience to sing
as a chorale, Roe added unfamiliar harmonisations to heighten
the emotional content.
The work prefigured the use of popular music forms in Church
music leading Alan Ridout to describe Christus Victor as the
“next Stainer’s Crucifixion”. The manuscript
was snapped up by Novello for publication. However, the publisher
made little effort to promote the piece and it failed to get
the recognition it deserved. Recognition was also hampered by
Roe being a woman composer in the early 60s and not a part of
the old boy network. Roe’s friends joked that she should
have change her name to “George”.
The work was particularly original in its “multimedia”
use of choral singing, mime, dance and jazz. A reviewer in Music
and Letters admitted being shocked at the first jazz influenced
section, The Lord is risen from the tomb and noted that
the music played during the narrations was “a coherent
part of the whole with thematic relevance”.
Roe recently revised Christus Victor, removing some of the jazz
elements. A performance of the revised work at St Helen’s
Church in 2007 demonstrated that it continues to communicate
directly with a modern audience. The librettist’s son,
Anthony Catterick played horn in both the 1963 and 2007 performances.
After composing Christus Victor, Roe realised that she wanted
to take her composition seriously and started having lessons
with Lennox Berkeley in Maida Vale. These were often spent discussing
Berkeley’s compositions. If he was having trouble working
out how to write the endings, Roe suggested he composed the
ending first. Roe recalls that they had lovely evenings together
with their spouses when Roe played cocktail bar music, which
Roe was appointed Director of Music at the London Academy of
Music and Dramatic Art from 1968 to 1978 and during that time
also worked extensively as a session singer. She was seen on
TV conducting the Two Ronnies in The Plumsted Ladies Male Voice
Choir and sang on the concept albums of Jesus Christ Superstar.
Roe’s most popular song is probably “Nursery
Rhyme of Innocence and Experience” a setting of Charles
Causley’s poem and was also Roe’s first formally
commissioned piece. The song started life in a group of three
settings for children’s voices, “Union Street”
after the title of the volume of Causley’s poems. The
pivoting of the music before the sailor’s return perfectly
reflects the child’s disillusionment at having grown up.
Roe considers theThree Herrick Songs (1969) for Solo Soprano
and Wind Quintet “Undoubtedly one of the best things
I have written and bits have stayed in my memory.” The
work was written for Derek Smith, a horn player and another
Ashwell Festival encounter. Roe and Smith had been co-opted
into a scratch choir and had to suppress giggles at the conductor,
leading to a lasting friendship.
The work sets three advent poems by Robert Herrick, each song
leading seamlessly into the next with a short interlude linking
the fist and second songs. The Star Song has a strongly
contrapuntal accompaniment but Roe’s sensitivity to the
vocal line ensures that there is always space for the voice
to be heard clearly within the texture. On Heaven alternates
2/2 and 3/2 bars to give a lilting feel leading to the ecstatic
“amens” over a rising flute. A Christmas Carol
provides a joyous finale to the work.
Roe sang the solo at the first performance in Maida Vale and
recalls that she had just learned to drive but had to walk to
the performance following an accident in her car. The piece
was performed several times and is currently being prepared
Derek Smith recognised that Roe had the talent and John Bishop
had publishing experience as house journalist on the Shell magazine.
Smith put up £200 to enable Thames Publishing to be born
with a little round Song at Christmas (1970) to a lyric
by Jean Kenward. This later became the couple’s 1973 Christmas
card. The company was named “Thames” because of
Roe’s love of the river and London. The fish logo, designed
by Malcolm Potter, arose because Roe’s father was a fishmonger
and the associations with her surname.
Noble Numbers (published 1972) are also some of Roe’s
most enduring songs and they were lyrically sung by countertenor
Tim Travers-Brown on his 2009 recital CD of Warlock, Howells
and Roe (SIGCD161).
The five Robert Herrick settings are dedicated to five countertenors.
The earliest song to be composed, My God, was written
for James Bowman, whom Roe met via the Cunningham Singers. The
remaining four songs were composed by the river in Sunbury.
John Honeyman, the dedicatee of Roe’s Two Jazz Songs
(1972) for Soprano and Double Bass, invited her to stay
for short periods of time to escape the pressures of London,
three young children and ailing parents.
Each of the songs was influenced by the singing of its dedicatee,
who included musical colleagues David Ross and Ian Hunter, as
well as Owen Wynne, who sang the whole cycle on the radio. Although
written over a long period of time, the songs exist in a consistent
tone world reflecting both the religious fervour of the text
and the pervading feeling of being unworthy.
Catipoce - Edward
Prefabulous Animiles (1973) was commissioned by Colet
Court Boys School for a Purcell Room recital in 1973. Roe selected
the five poems from the 12 Prefabulous Animiles (1957)
by James Reeves, and two additional poems are suggested to be
recited in performance.
The harmony conjures up a mysterious sound world for James Reeves’
uncatalogued creatures to inhabit. Coupled with strong melodic
and rhythmic elements, this piece both appeals to the children
performing it and is musically satisfying. The 1977 recording
of the work (Pearl SHE 542) is performed with great enthusiasm
by the trebles. Roe places The Catipoce’s devouring
smile sinisterly in the final piano chords;
and The Nonny gleefully explodes in a dissonant clash
between the singers and pianist.
In 1975 Roe was introduced to librettist Marian Lines, a partnership
which has, so far, produced six operas, twelve musicals, many
choral works and a pantomime. Their first collaboration, The
Barnstormers (1976), is now in its third edition, published
For the opera Gaslight (1983) Lines’ libretto was
closely based on Patrick Hamilton’s play. Roe’s
word setting is very direct allowing the tension to quickly
build between the two main characters. The role of the Detective,
created by Richard Suart, was introduced as a humorous character
to alleviate the tension and bring the work to a satisfying
Felix Aprahamian reviewed the premiere at Jeanetta Cochrane
Theatre in London;
“Miss Roe's score speaks an unequivocally clear, tonal
lingua franca, in which opposites like Britten and Menotti
rub shoulders; here and there a piquant cluster, but, more often,
sequences of deliciously sugary modulations, a touch, perhaps,
of Sondheim.” (Sunday Times March 1983)
The first production was staged with assistance from the Ralph
Vaughan Williams Trust and the Mayor of Camden but run was restricted
to seven performances by the rights holder of the play. A group
in Germany expressed interest but the work is still overdue
a second production.
Roe’s Divertimento for Trumpet and Strings (1984)
was commissioned by Janet Canetty-Clarke, the conductor of the
Frauen Kammerorchester von Österreich (the First Women's
Orchestra of Austria) with Carol Dawn Reinhart as the soloist.
At a time when the major Viennese orchestras would only admit
male performers, the Divertimento’s premiere was an opportunity
to demonstrate that women could write and perform music on a
par with men. A reviewer described it as a “Serious, well
constructed, attractive, Divertimento”.
The Divertimento was premiered at a concert in Vienna, on 28
November 1984, which included Holst’s St Paul’s
Suite and Elgar’s Serenade for Strings. All of which hopefully
dispelled the Austrian misconception that England was an unmusical
nation as the audience demanded several encores.
Roe met Ursula Vaughan Williams via John Bishop’s involvement
with the Vaughan Williams Trust. Thames Publishing had also
published a book of Ursula Vaughan Williams’ poems. East
Midlands Opera, an ad hoc company formed by Barry Collett to
perform operas in the Northampton area, had commissioned Roe
to write an opera for them. Ursula Vaughan Williams had already
written a libretto and the result was the one act opera Canterbury
Morning (1986), premiered at the Elizabeth Theatre, Oakham,
The opera takes up Chaucer’s story the morning after the
pilgrims’ arrival in Canterbury. Matching the structure
of the libretto Roe’s music ties the piece into a consistent
whole without breaks in the action for arias.
Roe’s association with Ursula Vaughan Williams also resulted
in the song cycles The Silver Hound (1986) for Tenor,
Horn and Piano and the cycle of three songs, Man Without
The one act opera A Flight of Pilgrims (1993) with a
libretto by Marian Lines was written as a companion to Canterbury
Morning, portraying the pilgrims in an airport transit lounge
and preceded Jonathan Dove’s airport-set opera “Flight”
by six years. The two operas were performed as a double bill
at St James, Norlands in March 1993, directed by Marian Lines.
A Flight of Pilgrims is written for the same performers as Canterbury
Morning and each of the characters is paired with their equivalent
in the earlier opera. For this piece, Line’s libretto
included opportunities for the characters to be reflective,
increasing the emotional content of the piece. Roe’s music
is particularly effective in Thomas’s aria where recurring
themes underlie the character trying to rationalise paralysis
from Polio. The piece concludes with a stunning orchestral sunrise
as the various crises of faith are resolved.
The most striking of Lines and Roe’s musical entertainments
is the Storm Hound (1996). Commissioned by the tenor
Gordon Pullin as a companion piece to Britten’s Golden
Vanity, the score evokes a chilling Suffolk landscape with the
looming presence of the spectral dog, Black Shuck. The piece
concludes with the chilling sound of the chorus panting in unison.
Among Roe and Lines’ most successful community pieces
are their Pantomime, Dick Whittington (1996) the Children’s
opera Brunel: The Little Man in the Tall Hat (2006) and
Songs for City Children (2003).
In Dick Whittington the composer was very much aware of the
abilities of the performers and many of the pieces were tailored
to their strengths whilst not affecting the integrity of the
work as a whole. The work contains some marvellous music and
the first production succeeded in getting the entire community
Roe and Lines’ Brunel opera was commissioned and performed
in Swindon by the Janice Thompson Performance trust to mark
the 200th anniversary of Brunel’s birth. The work is set
after Brunel’s death with a group of railway workers from
Swindon reminiscing on a works trip to St Ives. Again the music
succeeded in being accessible but engaging and children as young
as six were singing with gusto processing round the church where
it was premiered.
Betty Roe and Marian Lines wrote two operas for performance
at the Edinburgh Festival fringe. Lunch at the Cooked Goose
(1999) is a comic one act opera for four sopranos. Four
college friends meet up after 20 years to compare careers. The
musical centrepiece is the quartet of Five Feasts each
from a different period - renaissance to Britten - and set with
an appropriate musical pastiche.
1999 - Betty Roe and Marian Lines
Two new productions are planned for later this year to celebrate
Roe’s 80th birthday.
Welcome to Purgatory (2003) imagines that Mary Queen
of Scots has been waiting in purgatory for her cousin, Elizabeth
I to join her. The ensuing battle of words is refereed by a
baritone who is also required to play the piano/harpsichord.
Betty Roe is still composing prolifically having completed six
commissions in the past 18 months and is currently working on
her third comic song for soprano Elizabeth Connell. She also
hopes to have time to write a string quartet.
Betty Roe’s works are always engaging and tuneful and
a joy to both listen to and perform. The range of her work is
broad enough to ensure that there is something to please and
satisfy every performer regardless of their ability. This is
evidenced by the fact that she continues to have her own section
at Chappells of Bond Street.
Roe’s works that were published by Thames Publishing continue
to be available from Music Sales/Novello. Her recent compositions
are published by Robish Music and available via tutti.co.uk.
I hope you will join me in wishing Betty Roe a very happy 80th