Garry Humphreys writes:
ENGLISH SONG was the specialisation of Michael Pilkington, who has died, aged 96, but one of his most significant contributions to the world of professional and amateur music-making was to the New Novello Choral Edition, which brought into line with modern scholarship at the end of the 20th century editions of the choral classics that had remained in use since Victorian times and were long past their sell-by dates.
Mendelssohn’s Elijah is a very good example: the whole story is rather complex, though explained in Pilkington’s Preface; but, for example, he returns to Mendelssohn’s original careful underlay of English words rather than the Victorian editor’s adaptation of English words to the German notes and rhythms. Mendelssohn also prepared his own piano part for the vocal score — again largely abandoned in later editions — which Pilkington adopted. Of course, as editor, he was aware of all existing relevant editions, while keeping Mendelssohn’s intentions in mind, including groupings of movements and pauses in between. The result has been a fresher and more dynamic work, without the religiosity and longueurs that long infected performances in Britain. This is just one example, others including Messiah, The Creation, Verdi’s Requiem, and even Maunder’s From Olivet to Calvary. I used to tease him that he was the new Ebenezer Prout.
Michael was perhaps best-known for his editions of English songs and guides to the repertoire, which, as well as recording the technical details, attempted to encapsulate the meanings of the songs and suggestions for interpretation. These range from lute songs to composers such as Peter Warlock (a particular interest) and Ian Venables. I had the privilege and pleasure of working with him as joint editor of A Century of English Song, the ongoing series from the Association of English Singers and Speakers, for which I could always rely on him for sound advice and inspiration.
Michael Pilkington was born in Pretoria, South Africa, of British parents, and attended Marlborough College, St Catherine’s College, Cambridge, and the Guildhall School of Music, where he gained the LGSM in piano teaching and LRAM in piano accompaniment. He began as a freelance accompanist, coach, and répétiteur, working with the Park Lane Group, the New Opera Company, and the French song and opera classes at the Guildhall School of Music and Drama, and, subsequently, with Walter Gore’s London Ballet, where he arranged and conducted.
His greatest single contribution at the Guildhall was his English Song Class, which he taught for 30 years; many future distinguished names were among his students. He was awarded a Fellowship by the School in 1972. He conducted many English Song workshops at universities in the US (1980-87), and, after retirement, associated himself with various musical organisations. He conducted, played the organ, adjudicated singing competitions, and wrote reviews, alongside producing printed scores and parts for various professional ensembles, which he continued to do up until his death.
Largely unknown by the public, his work enabled both professional and amateur performers to perform or read about music with the benefit of an accessible and agreeable commentator and guide.