Peter Heyworth

Peter Heyworth was born in the Lawrence Hospital, Bronxville, New York on 3 June 1921.[1] He was the son of Lawrence Ormerod Heyworth (1890–1954), a prosperous commodity dealer born in Argentina,[2] and his first wife Ella, née Stern (1891–1927), who was born in the US.[3] The family moved to England when Heyworth was four. His mother died when he was six, and he was much influenced by her mother, a good pianist of Viennese Jewish family.[2] He was educated at Charterhouse, and, after wartime service, Balliol College, Oxford (1947–1950) and the University of Göttingen (1950).[1]

Heyworth's military service included a period in Vienna, which helped form his musical preferences, which favoured German rather than French music.[4] His ambition to become a political or foreign correspondent was frustrated by poor health: he contracted tuberculosis and then Addison's disease.[2][4] He joined the London weekly The Times Educational Supplement in 1952,[4] and then another weekly, The Observer, under its chief music critic, Eric Blom, whom he succeeded in 1955.[4] He was also a European musical correspondent and critic for The New York Times from 1960 to 1975.[5]

Although lacking any formal musical education – he had great difficulty reading scores – Heyworth championed his preferences and attacked his bêtes noires with equal outspokenness.[2] Both in print and in person, he had a reputation for expressing himself trenchantly. He reduced secretaries to tears,[2][4] quarrelled with Sir Malcolm Sargent[2] and Colin Davis,[6] dismissed André Previn as "mediocre",[7] provoked William Walton into writing music intended to upset him,[8] and wrote so woundingly about Elisabeth Schwarzkopf that she permanently gave up singing at Covent Garden.[2]

Heyworth's sympathies were with avant-garde music, and he objected to many new works in traditional musical form, maintaining that the Proms were "cluttered with a lot of second-rate works and a certain amount of sheer derivative drivel".[9] He praised the works of Pierre Boulez, Karlheinz Stockhausen and Harrison Birtwistle,[2][4] criticised Ralph Vaughan Williams for "heavy-handed heartiness" and being amateurish in his orchestration.[10] was dismissive of Frederick Delius's music,[2] lukewarm about Benjamin Britten's,[2] and consistently hostile to Walton's.[11]

Apart from his journalism, Heyworth was editor of a volume of Ernest Newman's writings, Berlioz, Romantic and Classic (1972),[12] and author of Conversations with Klemperer (1973) and a two-volume biography, Otto Klemperer: His Life and Times. The first volume was published in 1983; reviewing it in The New York Times, John Rockwell described it as "one of the most informative, readable musical biographies ever written".[5] The second volume was substantially complete at the time of Heyworth's death and was taken to publication in 1996 by John Lucas.[13] Reviewing it in The Sunday Times, Hugh Canning called it "essential reading, not only for the even-handed way he analyses Klemperer's complex musical personality, but also for the richly detailed picture he paints of an era in music-making in which artistic values still counted for a great deal".[14]

Heyworth retired from his post at The Observer in June 1991. He died of a stroke on 2 October of that year, while on holiday in Athens. He was unmarried; his long-term partner was Jochen Voigt.[6] Heyworth was survived by a brother and three nephews.[5]