Gustav Holst - Knowledge

5655: 480:. His own socialism was moderate in character, but he enjoyed the club for its good company and his admiration of Morris as a man. His ideals were influenced by Morris's but had a different emphasis. Morris had written, "I do not want art for a few any more than education for a few, or freedom for a few. I want all persons to be educated according to their capacity, not according to the amount of money which their parents happen to have". Holst said, "'Aristocracy in art'—art is not for all but only for the chosen few—but the only way to find those few is to bring art to everyone—then the artists have a sort of masonic signal by which they recognise each other in the crowd." He was invited to conduct the Hammersmith Socialist Choir, teaching them 820: 1391:— set him apart from other English composers. Vaughan Williams remarked that Holst always said in his music what he wished to say, directly and concisely; "He was not afraid of being obvious when the occasion demanded, nor did he hesitate to be remote when remoteness expressed his purpose". Kennedy has surmised that Holst's economy of style was in part a product of the composer's poor health: "the effort of writing it down compelled an artistic economy which some felt was carried too far". However, as an experienced instrumentalist and orchestra member, Holst understood music from the standpoint of his players and made sure that, however challenging, their parts were always practicable. According to his pupil 1026: 670: 585: 933: 1895: 150: 799:. Parry considered that by recovering English folk song, English composers would find an authentic national voice; he commented, "in true folk-songs there is no sham, no got-up glitter, and no vulgarity". Vaughan Williams was an early and enthusiastic convert to this cause, going round the English countryside collecting and noting down folk songs. These had an influence on Holst. Though not as passionate on the subject as his friend, he incorporated a number of folk melodies in his own compositions and made several arrangements of folk songs collected by others. The 422:, who became a lifelong friend and had more influence on Holst's music than anybody else. Stanford emphasised the need for his students to be self-critical, but Holst and Vaughan Williams became one another's chief critics; each would play his latest composition to the other while still working on it. Vaughan Williams later observed, "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students ... every subject under the sun from the lowest note of the double bassoon to the philosophy of 2232: 337: 1560: 1776: 2074:, praised the work's "clear beauty—impossible to mistake for the art of any other composer"; in Dickinson's view, however, it remains "a frail creation". Holst's final composition, the orchestral scherzo movement of a projected symphony, contains features characteristic of much of Holst's earlier music—"a summing up of Holst's orchestral art", according to Short. Dickinson suggests that the somewhat casual collection of material in the work gives little indication of the symphony that might have been written. 557:"trashy" but thought it had been useful to Holst nonetheless: "To start with, the very worst a trombonist has to put up with is as nothing compared to what a church organist has to endure; and secondly, Holst is above all an orchestral composer, and that sure touch which distinguishes his orchestral writing is due largely to the fact that he has been an orchestral player; he has learnt his art, both technically and in substance, not at second hand from text books and models, but from actual live experience." 320: 6105: 29: 2224:, and suggests that Holst's influence may have been felt further afield. Above all, Short recognises Holst as a composer for the people, who believed it was a composer's duty to provide music for practical purposes—festivals, celebrations, ceremonies, Christmas carols or simple hymn tunes. Thus, says Short, "many people who may never have heard any of major works ... have nevertheless derived great pleasure from hearing or singing such small masterpieces as the carol ' 1670: 505: 6032: 311:. Holst was accepted as a non-scholarship student, and Adolph borrowed £100 to cover the first year's expenses. Holst left Cheltenham for London in May 1893. Money was tight, and partly from frugality and partly from his own inclination he became a vegetarian and a teetotaller. Two years later he was finally granted a scholarship, which slightly eased his financial difficulties, but he retained his austere personal regime. 5674: 201:. Clara died in February 1882, and the family moved to another house in Cheltenham, where Adolph recruited his sister Nina to help raise the boys. Gustav recognised her devotion to the family and dedicated several of his early compositions to her. In 1885 Adolph married Mary Thorley Stone, another of his pupils. They had two sons, Matthias (known as "Max") and Evelyn ("Thorley"). Mary von Holst was absorbed in 2217:

seemed to look right inside me, with an acute spiritual vision". Kennedy observes that "a new generation of listeners ... recognized in Holst the fount of much that they admired in the music of Britten and Tippett". Holst's pupil Edmund Rubbra acknowledged how he and other younger English composers had adopted Holst's economy of style: "With what enthusiasm did we pare down our music to the very bone".

966:, demanded in a Saturday message during the service that there should be a greater political commitment from those who participated in the church activities; his claim that several of Holst's pupils (implicitly those from St Paul's Girls' School) were merely "camp followers" caused offence. Holst, anxious to protect his students from being embroiled in ecclesiastical conflict, moved the Whitsun Festival to 6093: 1170:. After he returned he found himself more and more in demand, to conduct, prepare his earlier works for publication, and, as before, to teach. The strain caused by these demands on him was too great; on doctor's orders he cancelled all professional engagements during 1924, and retreated to Thaxted. In 1925 he resumed his work at St Paul's Girls' School, but did not return to any of his other posts. 6069: 1094: 6081: 6057: 576:(Op. 8), the slow movement of which is a lament for William Morris who had died in October 1896, three years before Holst began work on the piece. In 1903 Adolph von Holst died, leaving a small legacy. Holst and his wife decided, as Imogen later put it, that "as they were always hard up the only thing to do was to spend it all at once on a holiday in Germany". 1014:'s education department needed volunteers to work with British troops stationed in Europe awaiting demobilisation. Morley College and St Paul's Girls' School offered him a year's leave of absence, but there remained one obstacle: the YMCA felt that his surname looked too German to be acceptable in such a role. He formally changed "von Holst" to "Holst" by 863:. The full score had been lost soon after Purcell's death in 1695, and had only recently been found. Twenty-eight Morley students copied out the complete vocal and orchestral parts. There were 1,500 pages of music and it took the students almost eighteen months to copy them out in their spare time. A concert performance of the work was given at 962:", was dedicated to Noel in recognition of his interest in the ancient origins of religion (the composer always referred to the work as "The Dancing Day"). It received its first performance during the Third Whitsun Festival at Thaxted in May 1918. During that festival, Noel, who would become a staunch supporter of Russia's 1956:. The music, which is largely derived from old English melodies gleaned from Cecil Sharp and other collections, has pace and verve; the contemporary critic Harvey Grace discounted the lack of originality, a facet which he said "can be shown no less convincingly by a composer's handling of material than by its invention". 1999:". 'A Moorside Suite' has undergone major revisionism in the article 'Symphony Within: rehearing Holst's 'A Moorside Suite' by Stephen Arthur Allen in the Winter 2017 edition of 'The Musical Times'. As with 'Egdon Heath' – commissioned as a symphony – the article reveals the symphonic nature of this brass-band work. 379:, records that from his fees as a player "he was able to afford the necessities of life: board and lodging, manuscript paper, and tickets for standing room in the gallery at Covent Garden Opera House on Wagner evenings". He secured an occasional engagement in symphony concerts, playing in 1897 under the baton of 1507:

comments on the "extraordinary expressive subtlety" with which Holst deploys the sparse forces: "... he two unaccompanied vocal lines opening the work skilfully convey the relationship between Death, steadily advancing through the forest, and Savitri, her frightened answers fluttering round him,

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At the outbreak of the First World War, Holst tried to enlist but was rejected as unfit for military service. He felt frustrated that he could not contribute to the war effort. His wife became a volunteer ambulance driver; Vaughan Williams went on active service to France as did Holst's brother Emil;

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in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame, and preferred to be left in peace to compose and teach. In his later years his uncompromising, personal style of composition struck many music lovers as too austere, and his

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is acknowledged by Short as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there. Of an early encounter with Holst, Tippett later wrote: "Holst

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to the general public, at a concert in February 1919; Holst sent him a long letter full of suggestions, but failed to convince him that the suite should be played in full. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and

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recalled, "Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning.

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Holst did not found or lead a school of composition; nevertheless, he influenced both contemporaries and successors. According to Short, Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers,

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Warrack emphasises that Holst acquired an instinctive understanding—perhaps more so than any English composer—of the importance of folksong. In it he found "a new concept not only of how melody might be organized, but of what the implications were for the development of a mature artistic language".

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in the space of a few bars". "Neptune", the final movement, concludes with a wordless female chorus gradually receding, an effect which Warrack likens to "unresolved timelessness ... never ending, since space does not end, but drifting away into eternal silence". Apart from his concession with

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consisting of five beats, combined with trumpet calls and harmonic dissonance provides battle music which Short asserts is unique in its expression of violence and sheer terror, "... Holst's intention being to portray the reality of warfare rather than to glorify deeds of heroism". In "Venus",

1966:. Matthews summarises the music as "elusive and unpredictable three main elements: a pulseless wandering melody , a sad brass processional, and restless music for strings and oboe." The mysterious dance towards the end is, says Matthews, "the strangest moment in a strange work". Richard Greene in 1489:

settings as pictorial rather than religious; although the quality is variable the sacred texts clearly "touched vital springs in the composer's imagination". While the music of Holst's Indian verse settings remained generally western in character, in some of the vedic settings he experimented with

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puts it, "he struggled for the rest of his life to extricate himself from the web of garish publicity, public incomprehension and professional envy woven about him by this unsought-for success." He turned down honours and awards proffered to him, and refused to grant interviews or sign autographs.

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Holst enjoyed his time in Salonica, from where he was able to visit Athens, which greatly impressed him. His musical duties were wide-ranging, and even obliged him on occasion to play the violin in the local orchestra: "it was great fun, but I fear I was not of much use". He returned to England in

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and espoused many causes unpopular with conservative opinion. Noel also encouraged the revival of folk-dancing and processionals as part of church ceremonies, innovations which caused controversy among traditionally-minded churchgoers. Holst became an occasional organist and choirmaster at Thaxted

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from players. Nevertheless, longing to devote his time to composing, Holst found the necessity of playing for "the Worm" or any other light orchestra "a wicked and loathsome waste of time". Vaughan Williams did not altogether agree with his friend about this; he admitted that some of the music was

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the RCM. Inspired by Adrian Boult's conducting classes at the RCM, Holst tried to further pioneer music education for women by proposing to the High Mistress of St Paul's Girls' School that he should invite Boult to give classes at the school: "It would be glorious if the SPGS turned out the only

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of Vaughan Williams". He never sought to impose his own ideas on his composition pupils. Rubbra recalled that he would divine a student's difficulties and gently guide him to finding the solution for himself. "I do not recall that Holst added one single note of his own to anything I wrote, but he

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inserted themselves on nearly every page of his own songs and overtures." Stanford admired some of Wagner's works, and had in his earlier years been influenced by him, but Holst's sub-Wagnerian compositions met with his disapprobation: "It won't do, me boy; it won't do". Holst respected Stanford,

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Although Holst wrote a large number of works—particularly songs—during his student days and early adulthood, almost everything he wrote before 1904 he later classified as derivative "early horrors". Nevertheless, the composer and critic Colin Matthews recognises even in these apprentice works an

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Of Holst's impact on Morley College, Vaughan Williams wrote: " bad tradition had to be broken down. The results were at first discouraging, but soon a new spirit appeared and the music of Morley College, together with its offshoot the 'Whitsuntide festival' ... became a force to be reckoned

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and not greatly interested in domestic matters. All four of Adolph's sons were subject to what one biographer calls "benign neglect", and Gustav in particular was "not overburdened with attention or understanding, with a weak sight and a weak chest, both neglected—he was 'miserable and scared'."

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According to Rubbra, the publication in 1911 of Holst's Rig Veda Hymns was a landmark event in the composer's development: "Before this, Holst's music had, indeed, shown the clarity of utterance which has always been his characteristic, but harmonically there was little to single him out as an

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spiritualism and English folk tunes enabled Holst to get beyond the once all-consuming influences of Wagner and Richard Strauss and to forge his own style. Imogen Holst has acknowledged Holst's own suggestion (written to Vaughan Williams): "ne ought to follow Wagner until he leads you to fresh

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Imogen commented on his translations: "He was not a poet, and there are occasions when his verses seem naïve. But they never sound vague or slovenly, for he had set himself the task of finding words that would be 'clear and dignified' and that would 'lead the listener into another world'". His

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Adolph tried to steer his son away from composition, hoping that he would have a career as a pianist. Holst was oversensitive and miserable. His eyes were weak, but no one realized that he needed to wear spectacles. Holst's health played a decisive part in his musical future; he had never been

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respectively, the first of which became and remains a brass-band staple. This piece, a highly original and substantial musical work, was a signal departure from what Short describes as "the usual transcriptions and operatic selections which pervaded the band repertoire". Also in 1911 he wrote

1404:"instinctive orchestral flair". Of the few pieces from this period which demonstrate some originality, Matthews pinpoints the G minor String Trio of 1894 (unperformed until 1974) as the first underivative work produced by Holst. Matthews and Imogen Holst each highlight the "Elegy" movement in 182:. Matthias's son Gustavus, who moved to England with his parents as a child in 1802, was a composer of salon-style music and a well-known harp teacher. He appropriated the aristocratic prefix "von" and added it to the family name in the hope of gaining enhanced prestige and attracting pupils. 1799:

tunes, of which "Swansea Town", with its "sophisticated tone", is deemed by Dickinson to be the most memorable. Holst downplayed such music as "a limited form of art" in which "mannerisms are almost inevitable"; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan

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Holst's absorption of folksong, not only in the melodic sense but in terms of its simplicity and economy of expression, helped to develop a style that many of his contemporaries, even admirers, found austere and cerebral. This is contrary to the popular identification of Holst with

1727:, to provide the opening; the prevalent mood within the movement is of peaceful resignation and nostalgia. "Mercury" is dominated by uneven metres and rapid changes of theme, to represent the speedy flight of the winged messenger. "Jupiter" is renowned for its central melody, " 2282:

Imogen Holst records, "A second cousin in the eighteenth century had been honoured by the German Emperor for a neat piece of work in international diplomacy, and the unscrupulous Matthias had calmly borrowed the 'von' in the hopes that it might bring in a few more piano

849:, which incorporated music he heard in the Algerian streets. Vaughan Williams wrote of this exotic work, "if it had been played in Paris rather than London it would have given its composer a European reputation, and played in Italy would probably have caused a riot." 2976: 1537:, Dickinson remarks that, with its firm overall structure, Holst's composition "rises beyond the level of ... a song-selection". Imogen acknowledges that Holst's discovery of English folksongs "transformed his orchestral writing", and that the composition of 1275:, discovering, in the words of Imogen Holst, 'in the middle of an over-crowded London ... the same tranquillity that he had found in the solitude of Egdon Heath'". The work was unlucky in being premiered at a concert that also featured the London premiere of 640:

with". Before Holst's appointment, Morley College had not treated music very seriously (Vaughan Williams's "bad tradition"), and at first Holst's exacting demands drove many students away. He persevered, and gradually built up a class of dedicated music-lovers.

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While in Germany, Holst reappraised his professional life, and in 1903 he decided to abandon orchestral playing to concentrate on composition. His earnings as a composer were too little to live on, and two years later he accepted the offer of a teaching post at

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would suggest—if I agreed!—that, given such and such a phrase, the following one would be better if it took such and such a course; if I did not see this, the point would not be insisted upon ... He frequently took away his abhorrence of unessentials."

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is not likely to be popular, but it says what the composer wants to say, whether we like it or not, and truth is one aspect of duty." Holst had been distressed by hostile reviews of some of his earlier works, but he was indifferent to critical opinion of

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and made use of tunes that Sharp had noted down. Holst described its performance at the Queen's Hall in 1910 as "my first real success". A few years later Holst became excited by another musical renaissance—the rediscovery of English madrigal composers.

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Occasional successes notwithstanding, Holst found that "man cannot live by composition alone"; he took posts as organist at various London churches, and continued playing the trombone in theatre orchestras. In 1898 he was appointed first trombonist and

2106:. The limitations of early recording prevented the gradual fade-out of women's voices at the end of "Neptune", and the lower strings had to be replaced by a tuba to obtain an effective bass sound. With an anonymous string orchestra Holst recorded the 277:

Choral Society, which offered no extra remuneration but provided valuable experience that enabled him to hone his conducting skills. In November 1891 Holst gave what was perhaps his first public performance as a pianist; he and his father played the

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for brass band, written as a test piece for the National Brass Band Festival championships of 1928. While written within the traditions of north-country brass-band music, the suite, Short says, bears Holst's unmistakable imprint, "from the skipping

464:. In Vaughan Williams's words, "It was now that Holst discovered the feeling of unity with his fellow men which made him afterwards a great teacher. A sense of comradeship rather than political conviction led him, while still a student, to join the 1364:, which Matthews believes has masked his status as a composer of genuine originality. Against charges of coldness in the music, Imogen cites Holst's characteristic "sweeping modal tunes mov reassuringly above the steps of a descending bass", while 1051:, and you've got to conduct'." There was a burst of activity to get things ready in time. The girls at St Paul's helped to copy out the orchestral parts, and the women of Morley and the St Paul's girls learned the choral part in the last movement. 520:

In 1898 the RCM offered Holst a further year's scholarship, but he felt that he had learned as much as he could there and that it was time, as he put it, to "learn by doing". Some of his compositions were published and performed; the previous year

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Vaughan Williams recorded this in a letter dated 19 September 1937 to Imogen Holst, signing himself, as was his custom, "Uncle Ralph". In the same letter he wrote of Holst's view "That the artist is born again & starts afresh with every new

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in 1914; the movements appeared not quite in their final sequence; "Mars" was the first to be written, followed by "Venus" and "Jupiter". "Saturn", "Uranus" and "Neptune" were all composed during 1915, and "Mercury" was completed in 1916.

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he began, but soon abandoned, an ambitious setting of the work for chorus and orchestra. His early compositions included piano pieces, organ voluntaries, songs, anthems and a symphony (from 1892). His main influences at this stage were

2040:; beginning and ending with a soprano soloist, the work, also involving chorus, strings, brass and percussion, includes a substantial organ solo which, says Imogen Holst, "knows something of the 'colossal and mysterious' loneliness of 1767:"I Vow to Thee..."', Holst insisted on the unity of the whole work, and opposed the performance of individual movements. Nevertheless, Imogen wrote that the piece had "suffered from being quoted in snippets as background music". 1528:

Holst's settings of Indian texts formed only a part of his compositional output in the period 1900 to 1914. A highly significant factor in his musical development was the English folksong revival, evident in the orchestral suite

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Holst was taught to play the piano and the violin; he enjoyed the former but hated the latter. At the age of twelve he took up the trombone at his father's suggestion, thinking that playing a brass instrument might improve his

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Alan Gibbs, who edited Dickinson's book, remarks in a footnote that, perhaps fortunately, neither Dickinson nor Imogen was alive to hear the "deplorable 1990s version" of the Jupiter tune, sung as an anthem at the Rugby World

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On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to mark the 75th anniversary of the composer's death. It is inscribed with words from the text of

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were issued, performed by orchestras and conductors from round the world. By the early years of the 21st century most of the major and many of the minor orchestral and choral works had been issued on disc. The 2008 issue of

1221:. It was first performed in February 1928, a month after Hardy's death, at a memorial concert. By this time the public's brief enthusiasm for everything Holstian was waning, and the piece was not well received in New York. 1444:

prompted his searching for a "musical idiom of the English language"; the folksong revival became a further catalyst for Holst to seek inspiration from other sources during the first decade or so of the new century.

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There were professional musicians in the previous three generations of Holst's family and it was clear from his early years that he would follow the same calling. He hoped to become a pianist, but was prevented by

2006:(1929–30), to a text by Clifford Bax. Imogen refers to the music as "Holst at his best in a scherzando (playful) frame of mind"; Vaughan Williams commented on the lively, folksy rhythms: "Do you think there's a 1481:, is "'good old Wagnerian bawling' ... towards the end a change comes over the music, and the beautifully calm phrases of the hidden chorus representing the Voice of the Earth are in Holst's own language." 1323:. His health declined, and he withdrew further from musical activities. One of his last efforts was to guide the young players of the St Paul's Girls' School orchestra through one of his final compositions, the 1310:

offered Holst a lectureship for the first six months of 1932. Arriving via New York he was pleased to be reunited with his brother, Emil, whose acting career under the name of Ernest Cossart had taken him to

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Clara had a Spanish great-grandmother, who eloped and lived with an Irish peer; Imogen Holst speculates whether this family scandal may have mitigated the Lediard family's disapproval of Clara's marrying a

1395:, Holst fostered in performance "a spirit of practical comradeship ... none could know better than he the boredom possible to a professional player, and the music that rendered boredom impossible". 549:, for whom he played at Covent Garden. His salary was only just enough to live on, and he supplemented it by playing in a popular orchestra called the "White Viennese Band", conducted by Stanislas Wurm. 496:

two years his junior. He fell in love with her; she was at first unimpressed by him, but she came round and they were engaged, though with no immediate prospect of marriage given Holst's tiny income.

189:, Cheltenham; he also taught, and gave piano recitals. His wife, Clara, a former pupil, was a talented singer and pianist. They had two sons; Gustav's younger brother, Emil Gottfried, became known as 2586: 1508:

unable to escape his harmonic pull." Head describes the work as unique in its time for its compact intimacy, and considers it Holst's most successful attempt to end the domination of Wagnerian

839:. He walked extensively in England, Italy, France and Algeria. In 1908 he travelled to Algeria on medical advice as a treatment for asthma and the depression that he suffered after his opera 1576: 415:, as "the one man who could get any one of us out of a technical mess", but he found that his fellow students, rather than the faculty members, had the greater influence on his development. 303:. The piece was performed at Cheltenham Corn Exchange in February 1893; it was well received and its success encouraged him to persevere with composing. He applied for a scholarship at the 1731:", in Dickinson's view "a fantastic relaxation in which many retain a far from sneaking delight". Dickinson and other critics have decried the later use of the tune in the patriotic hymn " 4995: 2248:, charted Holst's life with particular reference to his support for socialism and the cause of working people. Holst's birthplace, 4 Pittville Terrace (later known as 4 Clarence Road) in 2196:" influence is lasting in the work of all of us who value directness and sincerity and who view music not so much a secret preserve for the leisured few as a vital part of everyday life" 1516:(1910–12) as an "accumulation of desultory incidents, opportunistic dramatic episodes and ecstatic outpourings" which illustrate the composer's creative confusion during that period; the 1001:. It attracted no attention at the time from the main newspapers, though when professionally staged five years later it was greeted as "a perfect little masterpiece." In 1917 he wrote 5006: 560:

With a modest income secured, Holst was able to marry Isobel; the ceremony was at Fulham Register Office on 22 June 1901. Their marriage lasted until his death; there was one child,

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hymns. He found the existing English versions of the texts unconvincing, and decided to make his own translations, despite his lack of skills as a linguist. He enrolled in 1909 at

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he persevered and quickly became an ardent Wagnerite. Wagner supplanted Sullivan as the main influence on his music, and for some time, as Imogen put it, "ill-assimilated wisps of

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To support himself during his studies Holst played the trombone professionally, at seaside resorts in the summer and in London theatres in the winter. His daughter and biographer,

5063: 1503:(1908) is written for three solo voices, a small hidden female chorus, and an instrumental combination of two flutes, a cor anglais and a double string quartet. The music critic 1294:(1931), and was amused to be recruited as an extra in a crowd scene. Both film and score are now lost. He wrote a "jazz band piece" that Imogen later arranged for orchestra as 949:

Parish Church. He started an annual music festival at Whitsuntide in 1916; students from Morley College and St Paul's Girls' School performed together with local participants.

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in the opera?" Short observes that the opening motif makes several reappearances without being identified with a particular character, but imposes musical unity on the work.

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Vaughan Williams wrote of the former establishment: "Here he did away with the childish sentimentality which schoolgirls were supposed to appreciate and substituted Bach and

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solicitor; the Holst side of the family was of mixed Swedish, Latvian and German ancestry, with at least one professional musician in each of the previous three generations.

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called "the most brilliant thing in a work glittering with brilliant moments", has been regularly performed since 1923. Holst's libretto attracted much criticism, although

59:, he composed many other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, 4338: 609:, where among other innovations he gave the British premieres of two Bach cantatas. The two teaching posts for which he is probably best known were director of music at 1995:

of the opening Scherzo, to the vigorous melodic fourths of the concluding March, the intervening Nocturne bearing a family resemblance to the slow-moving procession of

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In the letter, sent according to Holst from "Piccadilly Circus, Salonica", one suggestion read, "Mars. You made it wonderfully clear ... now could you make more

1533:(1906–07), a work that was originally to be based around eleven folksong themes; this was later reduced to four. Observing the work's kinship with Vaughan Williams's 1512:

in his music. Dickinson considers it a significant step, "not towards opera, but towards an idiomatic pursuit of vision". Of the Kālidāsa texts, Dickinson dismisses

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at a concert in Cheltenham. The programme for the event gives his name as "Gustav" rather than "Gustavus"; he was called by the shorter version from his early years.

4187: 929:, Essex, surrounded by mediaeval buildings and ample rambling opportunities. In 1917 they moved to a house in the centre of the town, where they stayed until 1925. 3981: 913:

for the occasion. The new building contained a sound-proof room, handsomely equipped, where he could work undisturbed. Holst and his family moved to a house in

4191: 1315:; but Holst was dismayed by the continual attentions of press interviewers and photographers. He enjoyed his time at Harvard, but was taken ill while there: a 787:

Towards the end of the nineteenth century, British musical circles had experienced a new interest in national folk music. Some composers, such as Sullivan and

1825:, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on the innovative character of the 6282: 1844:"; the musical elements include plainsong, two choirs distanced from each other to emphasise dialogue, dance episodes and "explosive chordal dislocations". 1925:

of 1923, for flute, oboe and strings. In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925

1549:, also written in 1906, was withdrawn by the composer and never published, although it emerged in the 1980s in the form of an arrangement for wind band by 527:

had praised his song "Light Leaves Whisper", "a moderately elaborate composition in six parts, treated with a good deal of expression and poetic feeling".

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Imogen Holst recounts an occasion when Holst was persuaded to relax his teetotalism. Fuelled by a single glass of champagne he played on his trombone the

91:. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague 6297: 1461:(1901) for violin and piano, regarded by the composer and writer Raymond Head as "an insipid salon-piece whose musical language is dangerously close to 2652: 1718:

Each planet is represented with a distinct character; Dickinson observes that "no planet borrows colour from another". In "Mars", a persistent, uneven

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On his return from Greece, Holst resumed his teaching and composing. In addition to his existing work he accepted a lectureship in composition at the

925:, but the river air, frequently foggy, affected his breathing. For use at weekends and during school holidays, Holst and his wife bought a cottage in 2369:

Holst considered them either "misleading translations in colloquial English" or else "strings of English words with no meanings to an English mind."

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completed in 1924, Matthews writes that, after several movements of real quality, the finale is a rambling anticlimax. Holst's penultimate opera,

4992: 2048:

of 1932 were dedicated to his pupils, though in Imogen's view that they present a formidable challenge to the most professional of singers. The

1601:

In the years before the First World War, Holst composed in a variety of genres. Matthews considers the evocation of a North African town in the

428:. In 1949 he wrote of their relationship, "Holst declared that his music was influenced by that of his friend: the converse is certainly true." 1742:, as the basis for the movement, where repeated chords represent the relentless approach of old age. "Uranus", which follows, has elements of 6187: 2478:"and the hieratic serial cantatas", though admitting that "it is doubtful whether Stravinsky was familiar with, or even aware of this work". 2170: 1791:, Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the 224: 5003: 628:; a splendid background for immature minds." Several of Holst's pupils at St Paul's went on to distinguished careers, including the soprano 6292: 6192: 6167: 6142: 1010:

In 1918, as the war neared its end, Holst finally had the prospect of a job that offered him the chance to serve. The music section of the

1829:: "At a stroke Holst had cast aside the Victorian and Edwardian sentimental oratorio, and created the precursor of the kind of works that 6177: 6152: 131:

and a handful of other works, his music was generally neglected until the 1980s, when recordings of much of his output became available.

1332:

Holst died in London on 25 May 1934, at the age of 59, of heart failure following an operation on his ulcer. His ashes were interred at

6257: 6252: 5517: 1408:(1899–1900) as among the more accomplished of the apprentice works, and Imogen discerns glimpses of her father's real self in the 1899 5067: 1090:, a setting of a poem by Whitman, which according to Vaughan Williams is considered by many to be Holst's most beautiful choral work. 6247: 6172: 6147: 5639: 1178:

Holst's productivity as a composer benefited almost at once from his release from other work. His works from this period include the

6212: 2066:. Quiet and contemplative, and requiring little virtuosity from the soloist, the piece was slow to gain popularity among violists. 1859:

expressed Holst's private attitude to death. The piece has rarely been performed since its premiere in 1922, although the composer

6182: 6162: 6157: 6137: 5855: 2330: 1612: 1130:

To his surprise and dismay Holst was becoming famous. Celebrity was something wholly foreign to his nature. As the music scholar

6227: 5701: 2382:? And work up more sense of climax? Perhaps hurry certain bits? Anyhow, it must sound more unpleasant and far more terrifying". 1874:"the best of modern British operas", but its unusually short length (about an hour) and parodic, whimsical nature—described by 1851:(1918–19), the quiet, resigned mood is seen by Matthews as an "abrupt volte-face" after the life-enhancing spirituality of the 110:

Holst's works were played frequently in the early years of the 20th century, but it was not until the international success of

5650: 647:, who studied under him in the early 1920s, Holst was "a teacher who often came to lessons weighted, not with the learning of 6267: 6035: 5216: 1232: 1762:, in its depiction of the magician who "disappears in a whiff of smoke as the sonic impetus of the movement diminishes from 1123:

as "one of the most brilliant and one of the most sincere pieces of choral and orchestral expression heard for some years."

6222: 5719: 3458: 1758: 1424:

are briefly anticipated. In this work, Holst first employs the technique of bitonality—the use of two keys simultaneously.

1349: 115:

brief popularity declined. Nevertheless, he was an important influence on a number of younger English composers, including

53:; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite 1166:. He seemed to make a good recovery, and he felt up to accepting an invitation to the US, lecturing and conducting at the 6242: 5860: 5521: 1616: 1231:

opined that "the new score seemed long and undistinguished". The day after the American performance, Holst conducted the

1127:

called it "undoubtedly the most strikingly original choral work which has been produced in this country for many years."

997:

for performance. It was first given in December 1916 by students of the London School of Opera at the Wellington Hall in

857:

In June 1911 Holst and his Morley College students gave the first performance since the seventeenth century of Purcell's

796: 258:, which made playing the piano difficult. He said that the affected arm was "like a jelly overcharged with electricity". 4854:

Stephen Arthur Allen, 'Symphony within: rehearing Holst's "A Moorside Suite"', The Musical Times (Winter, 2017), pp.7–32

3114: 1453:

Holst's interest in Indian mythology, shared by many of his contemporaries, first became musically evident in the opera

163:, Gloucestershire, the elder of the two children of Adolph von Holst, a professional musician, and his wife, Clara Cox, 6287: 5888: 1926: 1545:

of 1906, Holst showed that he could create his own original music using the folk idiom. An orchestral folksong fantasy

662: 352:

Holst's professors at the RCM were Frederick Sharpe (piano), William Stephenson Hoyte (organ), George Case (trombone),

5093: 445:; the work profoundly impressed Holst, who over twenty years later confessed to a friend that his search for "the (or 6277: 6272: 6197: 5905: 5594: 5572: 5550: 5507: 5488: 5469: 5447: 5428: 5389: 5350: 5331: 5312: 5293: 5274: 5252: 5180: 5161: 5142: 3973: 959: 598: 542: 186: 2311:

in characterising Holst: "'in spite of all temptations ', which his name may suggest, Holst 'remains an Englishman'"

6237: 6232: 6202: 5022:

From "GH: An account of Holst's attitude to the teaching of composition, by one of his pupils", first published in

1569: 1372:

settings of 1929, and the 12 Welsh folksong settings for unaccompanied chorus of 1930–31, as works of true warmth.

1319:

prostrated him for some weeks. He returned to England, joined briefly by his brother for a holiday together in the

269:. On his return, Holst obtained his first professional appointment, aged seventeen, as organist and choirmaster at 1684:

in 1913, partly as a result of his interest in astrology, and also from his determination, despite the failure of

6217: 2122:. When electrical recording came in, with dramatically improved recording quality, Holst and the LSO re-recorded 1058:

and most of the professional musicians in London. Five months later, when Holst was in Greece, Boult introduced

5399: 4183: 1416:

of 1900. She and Matthews have asserted that Holst found his genuine voice in his setting of Whitman's verses,

1365: 1304:, what Matthews calls "the right medium for his oblique sense of humour, writing with economy and directness". 1281: 792: 569: 68: 6207: 5948: 1992: 1644:(a "gay but retrogressive" piece according to Dickinson), and the failure of his large scale orchestral work 610: 589: 100: 1878:

as "a brilliant puzzle"—put it outside the operatic mainstream. Only the ballet music from the opera, which

871:

praised Holst and his forces for "a most interesting and artistic performance of this very important work".

5629: 2083: 874:

After this success, Holst was disappointed the following year by the lukewarm reception of his choral work

819: 2667: 6262: 6013: 2133:

era little of Holst's music was available on disc. Only six of his works are listed in the 1955 issue of

1457:(1901–06). During the opera's long gestation, Holst worked on other Indian-themed pieces. These included 1208: 465: 198: 2582: 917:, very close to the school. For the previous six years they had lived in a pretty house overlooking the 83:

in his right arm. Despite his father's reservations, he pursued a career as a composer, studying at the

6047: 5694: 2400: 2044:". Apart from his final uncompleted symphony, Holst's remaining works were for small forces; the eight 1883: 1688:, to produce a large-scale orchestral work. The chosen format may have been influenced by Schoenberg's 1469:, whom he considered a "model of purity" on the level with Haydn, another composer he greatly admired. 1106: 970:, though he himself continued to help with the Thaxted choir and to play the church organ on occasion. 99:, where he served as musical director from 1907 until 1924, and pioneered music education for women at 4370: 1636:'s defiance of divine wrath. In 1912 Holst composed two psalm settings, in which he experimented with 1607:

suite of 1908 the composer's most individual work to that date; the third movement gives a preview of

5953: 5926: 4334: 2099: 2067: 1732: 1689: 1340:

gave the memorial oration at the funeral, and Vaughan Williams conducted music by Holst and himself.

1253: 725: 369: 325: 283: 88: 1763: 1239:

acknowledged the bleakness of the work but allowed that it matched Hardy's grim view of the world: "

625: 2119: 1860: 1298:. Having composed operas throughout his life with varying success, Holst found for his last opera, 1218: 945: 546: 220: 5635: 2103: 742:(which he eventually entered for a competition for English opera set by the Milan music publisher 5832: 1432:

At the beginning of the 20th century, according to Matthews, it appeared that Holst might follow

1180: 1155: 538: 492:, Wagner and himself. One of his choristers was (Emily) Isobel Harrison (1876–1969), a beautiful 489: 308: 202: 2292:

Adolph moved the family from 4 Pittville Terrace (named today Clarence Road) to 1 Vittoria Walk.

1018:

in September 1918. He was appointed as the YMCA's musical organiser for the Near East, based in

6073: 5625: 5582: 5457: 4697:

Head, Raymond (July 1999). "The Hymn of Jesus: Holst's Gnostic Exploration of Time and Space".

2396: 2225: 2220:

Short cites other English composers who are in debt to Holst, in particular William Walton and

2115: 1167: 442: 419: 343: 304: 266: 92: 84: 6109: 5970: 5755: 5748: 5687: 3733: 3144: 2033: 1917: 1748: 1611:

in its constant repetition of a four-bar theme. Holst wrote two suites for military band, in

1300: 1290: 1194: 1102: 1076: 261:

After Holst left school in 1891, Adolph paid for him to spend four months in Oxford studying

5651:

Gustav Holst: The Lost Films (BBC production from the late 1970s, discovered 2009. Extracts)

1932:, each instrument playing in a different key, is cited by Imogen as Holst's only successful 1894: 545:. Though a capable rather than a virtuoso player he won the praise of the leading conductor 6132: 6127: 2417: 2302: 2118:, issued recordings of some of the same repertoire, with an unnamed orchestra conducted by 1337: 1333: 565: 449:) musical idiom of the English language" had been inspired "unconsciously" by "hearing the 400:

when he heard it at Covent Garden in 1892, but encouraged by his friend and fellow-student

396: 296: 274: 239: 5440:

A Comprehensive Biography of Composer Gustav Holst, with Correspondence and Diary Excerpts

1465:". Then, through Vaughan Williams, Holst discovered and became an admirer of the music of 1113:

in the US. The success of that work was followed in 1920 by an enthusiastic reception for

8: 5942: 5871: 5801: 2130: 2052:(1932), written for the orchestra of St Paul's School, was a late companion piece to the 1780: 1700: 1336:

in Sussex, close to the memorial to Thomas Weelkes, his favourite Tudor composer. Bishop

1263: 1213: 879: 584: 477: 3052:

Howells, Herbert. "Charles Villiers Stanford (1852–1924). An Address at His Centenary".

2244:: "The heavenly spheres make music for us". In April 2011 a BBC television documentary, 1267:

was a tribute to the place where he had spent most of his life. The composer and critic

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did much to banish the chromaticisms that had dominated his early compositions. In the

1307: 1227: 980: 963: 932: 909: 406: 103:, where he taught from 1905 until his death in 1934. He was the founder of a series of 5734: 1520:(1911), in Dickinson's view, provide "a more memorable final impression of Kālidāsa". 1248:, which he regarded as, in Adams's phrase, his "most perfectly realized composition". 6018: 5912: 5808: 5620: 5590: 5568: 5546: 5529: 5503: 5484: 5465: 5443: 5424: 5407: 5385: 5368: 5346: 5327: 5308: 5289: 5270: 5248: 5231: 5212: 5195: 5176: 5157: 5138: 4779: 4270: 4064: 2163:; and three short choral pieces. In the stereo LP and CD eras numerous recordings of 1822: 1813: 1433: 1325: 1159: 1003: 998: 235: 4806:

Greene, Richard (May 1992). "A Musico-Rhetorical Outline of Holst's 'Egdon Heath'".

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Adams, Byron (Winter 1992). "Gustav Holst: The Man and His Music by Michael Short".

1192:

to words by George Meredith exists only in fragments). A short Shakespearian opera,

512:. He is shown with the baton in his left hand, his frequent practice because of the 6061: 5865: 5826: 5794: 5741: 5659: 4817: 4279: 4030: 3530: 2960: 2836: 2416:, a British composer of Victorian sentimental ballads, the best known of which is " 2413: 2252:, Cheltenham, is now a museum, the Holst Victorian House, and is open to visitors. 2221: 2135: 1986: 1952: 1946: 1921: 1912: 1706: 1462: 1312: 1200: 1140: 606: 424: 365: 194: 179: 124: 95:. Among other teaching activities he built up a strong tradition of performance at 3129: 336: 5560: 5010: 4999: 4021:

Adams, Byron (June 1989). "Egdon Heath, for Orchestra, Op. 47 by Gustav Holst;".

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for chorus and orchestra, a work which remained unperformed until after the war.

993: 859: 748: 533: 473: 437: 412: 384: 380: 279: 270: 247: 120: 64: 40: 20: 1886:

remarked on the rare treat in opera of being able to hear the words being sung.

319: 5933: 5838: 5360: 4265: 3446: 2578: 2058: 1743: 1728: 1695: 1625: 1437: 1316: 1276: 1268: 1084:

women conductors in the world!" In his soundproof room at SPGS he composed the

922: 824: 809: 697: 686: 669: 648: 618: 461: 391: 361: 353: 190: 175: 96: 67:

being most crucial early in his development. The subsequent inspiration of the

60: 5303:

Holst, Imogen (1980). "Holst, Gustavus Theodore von". In Stanley Sadie (ed.).

2002:

After this, Holst tackled his final attempt at opera in a cheerful vein, with

71:

of the early 20th century, and the example of such rising modern composers as

6121: 5992: 5533: 5411: 5235: 3110: 2457: 2203: 2152: 2063: 1933: 1867: 1669: 1608: 1466: 1369: 907:

In 1913, St Paul's Girls' School opened a new music wing, and Holst composed

767: 753: 644: 485: 432: 116: 72: 5372: 5199: 5089: 4068: 2320:

According to Imogen Holst the most probable lender was Adolph's sister Nina.

2231: 1840:

s "ecstatic" quality is matched in English music "perhaps only by Tippett's

1775: 1025: 713: 692:

As a composer Holst was frequently inspired by literature. He set poetry by

674: 6097: 6085: 6008: 5919: 5262: 5130: 2712: 2144: 1907: 1830: 1796: 1719: 1550: 1509: 1504: 1388: 1151: 1119: 1086: 1054:

The performance was given on 29 September to an invited audience including

1043: 1030: 1019: 918: 883: 813: 788: 743: 701: 693: 682: 678: 652: 561: 376: 357: 262: 243: 5190:

Dickinson, A E F (1957). "Gustav Holst". In Alfred Louis Bacharach (ed.).

4821: 2964: 1980:

rhythm with a simple, stepwise, rocking melody", but lacking the power of

780: 307:(RCM) in London, but the composition scholarship for that year was won by 223:

between 1886 and 1891. He started composing in or about 1886; inspired by

178:; he served as composer and harp-teacher to the Imperial Russian Court in 5787: 4308:

Head, Raymond (September 1986). "Holst and India (I): 'Maya' to 'Sita'".

3534: 2840: 2174:

contained seven pages of listings of Holst's works on CD. Of the operas,

1833:, for example, was to write in the 1970s". Matthews has written that the 1664: 1392: 1222: 1131: 1035: 984: 941: 914: 896: 864: 828: 804: 758: 712:

in 1899. While on tour with the Carl Rosa company Holst had read some of

633: 614: 469: 435:, which was marked by various performances including Stanford conducting 254:

strong, and in addition to his asthma and poor eyesight he suffered from

229: 174:

One of Holst's great-grandfathers, Matthias Holst, born in Riga, Latvia,

168: 55: 1440:. Instead, as Holst recognised afterwards, his encounter with Purcell's 552:

Holst enjoyed playing for Wurm, and learned much from him about drawing

418:

In 1895, shortly after celebrating his twenty-first birthday, Holst met

5987: 5616: 2037: 1906:

Before his enforced rest in 1924, Holst demonstrated a new interest in

1818: 1753: 1593: 1384: 1185: 1163: 1055: 987:

were killed in battle. He continued to teach and compose; he worked on

954: 887: 629: 509: 450: 401: 160: 5114: 4829: 4792: 4706: 4457: 4428: 4317: 4291: 4042: 3883: 3542: 3061: 2972: 2848: 1984:

and, at times, monotonous to the listener. A more popular success was

1855:. Warrack refers to its aloof tranquillity; Imogen Holst believed the 1261:

to write a piece for military band; the resulting prelude and scherzo

904:

for the rest of his life and referred to astrology as his "pet vice".

5773: 3447:"Gustav Holst, Songs of the West, and the English Folk Song Movement" 3149:. Music in Nineteenth-Century Britain. Ashgate Publishing. p. 66 2249: 1977: 1637: 1632:

built on a seven-beat refrain designed, says Dickinson, to represent

1629: 1603: 1320: 1162:. At a concert in Reading in 1923, Holst slipped and fell, suffering 1015: 901: 891: 845: 657: 523: 481: 273:, Gloucestershire. The post brought with it the conductorship of the 185:

Holst's father, Adolph von Holst, became organist and choirmaster at

4777:

Grace, Harvey (April 1925). "At the Boar's Head: Holst's New Work".

3519:

Vaughan Williams, Ralph (October 1920). "Gustav Holst (Continued)".

3054:

Proceedings of the Royal Musical Association, 79th Sess. (1952–1953)

2456:

Short observes that the rising fourths of "Jupiter" can be heard in

803:(1906–07), was written at the suggestion of the folk-song collector 167:

Lediard. She was of mostly British descent, daughter of a respected

149: 107:

music festivals, which ran from 1916 for the remainder of his life.

28: 5668: 5230:. Illustrated Lives of the Great Composers. London: Omnibus Press. 4283: 4034: 2430: 1380: 1146: 738: 717: 513: 255: 80: 5664: 5516: 2653:"Over the Coffee Cups With George Bernard Shaw in a Play Entitled 1738:

For "Saturn", Holst again used a previously composed vocal piece,

1097:

Holst, caricatured as "The Bringer of Jollity", by F Sanchez, 1921

5269:(second ed.). London and New York: Oxford University Press. 2357: 1375:

Many of the characteristics that Holst employed — unconventional

1158:

conducting, was enthusiastically received at its premiere in the

967: 926: 721: 602: 493: 104: 19:"Holst" redirects here. For other people with this surname, see 5679: 1694:, and shares something of the aesthetic, Matthews suggests, of 1633: 890:

in Spain. During this holiday Clifford Bax introduced Holst to

836: 553: 216: 5645: 2082:

Holst made some recordings, conducting his own music. For the

843:

failed to win the Ricordi prize. This trip inspired the suite

504: 295:

In 1892 Holst wrote the music for an operetta in the style of

2948:"Some Anomalies in Orchestral Accompaniments to Church Music" 1973: 1486: 1485:

important figure in modern music." Dickinson describes these

1473: 1420:(1904), in which the trumpet calls that characterise Mars in 1101:

Holst, in his forties, suddenly found himself in demand. The

1093: 1079:

and joined Vaughan Williams in teaching composition at their

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part during a waltz, to Wurm's astonishment and admiration.

1211:

to write a symphony. Instead, he wrote an orchestral piece

1063:

he gave only five of the seven movements on that occasion.

1011: 3113:. Oxford Dictionary of National Biography Online edition. 2719:. Oxford Dictionary of National Biography Online edition. 1570:

March from Holst's First Suite in E-flat for Military Band

1477:

things". She notes that although much of his grand opera,

736:(1899–1906), a three-act opera based on an episode in the 5171:

Dickinson, Alan Edgar Frederic (1995). Alan Gibbs (ed.).

4448:

Head, Raymond (September 1988). "Holst and India (III)".

2028:

Holst composed few large-scale works in his final years.

1258: 878:. He again went travelling, accepting an invitation from 827:

where Holst lived between 1908 and 1913. A commemorative

791:, remained indifferent, but Parry, Stanford, Stainer and 476:, Morris's home, Holst attended lectures by his host and 2825:

Vaughan Williams, Ralph (July 1920). "Gustav Holst, I".

1198:, followed; neither had the immediate popular appeal of 936:

The Manse in Thaxted where Holst lived from 1917 to 1925

867:, preceded by an introductory talk by Vaughan Williams. 390:

Like many musicians of his generation, Holst came under

3146:

In Search of Song: The Life and Times of Lucy Broadwood

1723:

Holst incorporated music from an abandoned vocal work,

368:, Holst was granted his wish to study composition with 75:, led Holst to develop and refine an individual style. 5379: 4729:

Newman, Ernest (30 August 1923). "The Week in Music".

1042:

Holst was given a spectacular send-off. The conductor

617:, from 1905 until his death, and director of music at 6045: 3424:

Hughes, p. 159 (Sullivan); and Kennedy, p. 10 (Elgar)

2062:

for viola and small orchestra (1933) was written for

1962:(1927) was Holst's first major orchestral work after 1944:(1924), is based on tavern scenes from Shakespeare's 704:, whose words he set in "Dirge for Two Veterans" and 4419:

Head, Raymond (March 1987). "Holst and India (II)".

1271:

considers the work "as uncompromising in its way as

732:

settings of translations of Sanskrit texts included

5497: 5421:

The Penguin Guide to Recorded Classical Music, 2008

5345:(third ed.). Oxford: Oxford University Press. 716:'s books, which inspired in him a keen interest in 356:(instrumentation) and the director of the college, 2946: 812:was his favourite of all the Tudor composers, but 605:, which he held until 1921. He also taught at the 1863:thought it was Holst's finest work to that date. 1150:, though Holst firmly denied it. The piece, with 6119: 5589:. Oxford and New York: Oxford University Press. 5581: 4612: 4610: 4608: 3518: 2824: 2391:The two exceptions Holst made to this rule were 1523: 5305:The New Grove Dictionary of Music and Musicians 3166: 3164: 1673:The opening of "Saturn", the fifth movement of 940:At Thaxted, Holst became friendly with the Rev 4260: 4258: 3840:"Music of the Week: Holst's 'Hymn of Jesus'". 2630: 2628: 944:, known as the "Red Vicar", who supported the 673:Literary influences, from top left clockwise: 301:Lansdown Castle, or The Sorcerer of Tewkesbury 5695: 4605: 4337:. Oxford Dictionary of Music Online edition. 2171:The Penguin Guide to Recorded Classical Music 5498:Rubbra, Edmund; Stephen Lloyd, eds. (1974). 5326:(second ed.). London: Faber and Faber. 5286:A Thematic Catalogue of Gustav Holst's Music 4974:Sackville-West and Shawe-Taylor, pp. 378–379 4225: 4223: 4221: 4190:. Oxford Companion to Music Online edition. 3161: 3108: 2329:Case was instrumental in having Beethoven's 1251:Towards the end of his life Holst wrote the 894:, an interest that later inspired his suite 394:'s spell. He had recoiled from the music of 5192:The Music Masters IV: The Twentieth Century 4361: 4359: 4255: 3949: 3947: 3913: 3911: 3219: 3217: 3215: 2625: 1640:; the same year saw the enduringly popular 6298:Royal Philharmonic Society Gold Medallists 5702: 5688: 5380:Hughes, Gervase; Herbert Van Thal (1971). 3178: 3176: 3104: 3102: 3100: 3098: 3096: 3094: 3092: 3033:Holst (1969), pp. 23, 41; and Short, p. 41 3011: 3009: 3007: 3005: 3003: 1817:, completed in 1917. The words are from a 431:The year 1895 was also the bicentenary of 360:(history). After preliminary lessons with 5640:International Music Score Library Project 5189: 5170: 4218: 3440: 3438: 3436: 3434: 3432: 3430: 2944: 2922: 2920: 2918: 2782: 2775: 2773: 2771: 2618: 2616: 1285:, by which it was somewhat overshadowed. 290: 6283:People educated at Pate's Grammar School 5437: 5026:, February 1949. Quoted by Short, p. 339 5004:"Wandering scholar / At the Boar's Head" 4692: 4690: 4644: 4642: 4640: 4356: 4264: 4248: 4246: 4244: 4162: 4160: 4158: 4156: 3944: 3908: 3808: 3806: 3732: 3259: 3212: 2573: 2571: 2569: 2567: 2565: 2563: 2561: 2559: 2557: 2555: 2553: 2551: 2549: 2547: 2545: 2543: 2412:"Stephen Adams" was the assumed name of 2230: 1893: 1774: 1668: 1288:Holst wrote a score for a British film, 1092: 1024: 931: 818: 668: 583: 503: 499: 265:with George Frederick Sims, organist of 148: 27: 5856:First Suite in E-flat for Military Band 5559: 5478: 5398: 4472: 4470: 4178: 4176: 4174: 4172: 3962:Holst, Imogen (1974), pp. 150, 153, 171 3672:Short, p. 158; and Mitchell, pp. 154–55 3400: 3173: 3089: 3000: 2820: 2818: 2711: 2707: 2705: 2703: 2541: 2539: 2537: 2535: 2533: 2531: 2529: 2527: 2525: 2523: 2468:might be considered as a forerunner of 2331:Three Equals for four trombones, WoO 30 2255: 766:(1908–14); and two texts originally by 579: 6120: 5462:Vaughan Williams—A Life in Photographs 5359: 5225: 5066:. Chichester Cathedral. Archived from 4805: 4728: 4443: 4441: 4303: 4301: 4194:from the original on 20 September 2020 3971: 3760: 3758: 3444: 3427: 3393: 3391: 3381: 3379: 3142: 3117:from the original on 24 September 2015 2915: 2768: 2752: 2750: 2701: 2699: 2697: 2695: 2693: 2691: 2689: 2687: 2685: 2683: 2613: 1257:(1930) and he was commissioned by the 1207:In 1927 Holst was commissioned by the 1144:(1923) was widely seen as a satire of 209: 5683: 5646:The Gustav Holst Website (unofficial) 5540: 5456: 5418: 5340: 5321: 5302: 5283: 5261: 5242: 5206: 5151: 5129: 4776: 4687: 4637: 4533: 4479: 4241: 4153: 4058: 4020: 3869: 3803: 3776: 3256:Short, p. 34; and Holst (1969), p. 20 2890: 2888: 2812:Mitchell, p. 5 and Holst (1969) p. 23 2604: 1427: 6188:Alumni of the Royal College of Music 5096:from the original on 15 October 2013 4696: 4467: 4447: 4418: 4307: 4169: 3974:"Music: New York Symphony Orchestra" 3111:"Holst, Gustav Theodore (1874–1934)" 2945:Mansfield, Orlando A. (April 1916). 2815: 2577: 2520: 2504: 2502: 1787:During and after the composition of 1350:List of compositions by Gustav Holst 488:, choruses by Purcell, and works by 144: 6293:Pupils of Charles Villiers Stanford 6193:Alumni of University College London 6168:20th-century English male musicians 6143:19th-century English male musicians 5861:Second Suite in F for Military Band 5545:. Oxford: Oxford University Press. 5543:Gustav Holst: The Man and his Music 5464:. Oxford: Oxford University Press. 4438: 4412: 4298: 4182: 3755: 3512: 3388: 3376: 3051: 2747: 2680: 2143:(recordings under Boult on HMV and 1916:of 1922 for full orchestra and the 1735:"—despite Holst's full complicity. 508:Statue of Holst at his birthplace, 13: 6178:20th-century classical trombonists 6153:19th-century classical trombonists 5889:Terzetto for flute, oboe and viola 5307:. Vol. 8. London: Macmillan. 5013:, WorldCat, accessed 24 March 2013 4268:(May 1984). "Some Unknown Holst". 2885: 1558: 973: 411:describing him to a fellow-pupil, 134: 14: 6309: 6258:English people of Swedish descent 6253:English people of Latvian descent 5906:This Have I Done for My True Love 5604: 5587:Letters of Ralph Vaughan Williams 5442:. Lewiston, N Y: E Mellen Press. 5384:. London: Eyre and Spottiswoode. 5064:"A New Memorial for Gustav Holst" 4341:from the original on 20 June 2021 3984:from the original on 23 July 2018 3972:Downes, Olin (13 February 1928). 3568:"Music—Purcell's 'Fairy Queen'". 3461:from the original on 26 July 2019 2979:from the original on 20 June 2021 2723:from the original on 20 June 2021 2511: 2499: 2399:(1924) and the Gold Medal of the 1651: 1584:Performed by the U.S. Marine Band 1472:The combined influence of Ravel, 960:This Have I Done for My True Love 564:, born in 1907. On 24 April 1902 6248:English people of German descent 6173:20th-century classical composers 6148:19th-century classical composers 6103: 6091: 6079: 6067: 6055: 6031: 6030: 5709: 5672: 5610:The Gustav Holst archive at the 5108: 5082: 5056: 5047: 5038: 5029: 5016: 4986: 4977: 4968: 4959: 4944: 4929: 4920: 4911: 4902: 4893: 4884: 4875: 4866: 4857: 4848: 4839: 4799: 4770: 4761: 4752: 4737: 4722: 4713: 4678: 4669: 4660: 4651: 4628: 4619: 4596: 4587: 4578: 4569: 4560: 4551: 4542: 4524: 4515: 4506: 4497: 4488: 4403: 4394: 4385: 4376: 4327: 4232: 4209: 4144: 4129: 4120: 4111: 4102: 4093: 4084: 4075: 4052: 4014: 3999: 3965: 3956: 3935: 3926: 3893: 3863: 3848: 3833: 3824: 3815: 3794: 3785: 3767: 3742:. 1 October 1918. p. 11615. 2589:from the original on 31 May 2020 2450: 2440: 2423: 2406: 2385: 2372: 2235:Memorial in Chichester Cathedral 2114:in 1925. Columbia's main rival, 1592:Problems playing this file? See 1574: 1448: 1154:in the leading soprano role and 655:, but with a miniature score of 468:which met at Kelmscott House in 335: 318: 6213:Burials at Chichester Cathedral 5247:. University of Glasgow Press. 4010:. 14 February 1928. p. 12. 3746: 3726: 3717: 3702: 3693: 3684: 3675: 3666: 3657: 3648: 3639: 3630: 3621: 3612: 3603: 3594: 3585: 3576: 3561: 3552: 3503: 3494: 3485: 3476: 3418: 3409: 3367: 3358: 3349: 3340: 3331: 3322: 3313: 3304: 3295: 3286: 3277: 3268: 3250: 3235: 3226: 3203: 3194: 3185: 3136: 3080: 3071: 3045: 3036: 3027: 3018: 2991: 2938: 2929: 2906: 2897: 2876: 2867: 2858: 2806: 2797: 2759: 2738: 2643:Short, p. 476; "The Theatres", 2637: 2363: 2350: 2340: 2323: 2314: 2295: 2286: 1807:Holst's first major work after 991:and prepared his chamber opera 708:(1904). He wrote an orchestral 661:or the then recently published 570:Bournemouth Municipal Orchestra 328:, Holst's composition professor 6183:20th-century English musicians 6163:20th-century British composers 6158:19th-century English musicians 6138:19th-century British composers 5656:Works by or about Gustav Holst 4940:. 5 November 1925. p. 10. 4748:. 11 December 1956. p. 5. 3900:"Mr. Holst on his New Opera". 2959:(2). Oxford University Press. 2490: 2301:Ralph Vaughan Williams quoted 2276: 2266: 1889: 1656: 1398: 1173: 979:Holst's friends the composers 154:Holst family tree (simplified) 139: 1: 6228:English classical trombonists 5565:Those Twentieth Century Blues 5211:. London: Thames Publishing. 4616:Dickinson (1995), pp. 123–124 4602:Dickinson (1995), pp. 121–122 4512:Dickinson (1995), pp. 192–193 4494:Dickinson (1995), pp. 110–111 2246:Holst: In the Bleak Midwinter 2077: 1842:The Vision of Saint Augustine 1524:Folksong and other influences 1379:, rising and falling scales, 1109:vied to be the first to play 882:to join him and the brothers 795:were founding members of the 700:and, a particular influence, 33: 6268:English male opera composers 5630:Choral Public Domain Library 5365:The Music of Arthur Sullivan 4090:Holst, Imogen (1974), p. 189 4063:. Hong Kong: Naxos Records. 3859:. 26 March 1920. p. 12. 3844:. 28 March 1920. p. 11. 3130:UK public library membership 2032:of 1930 was written for the 1680:Holst conceived the idea of 1233:City of Birmingham Orchestra 784:, 1910, premiered in 1913). 460:Another early influence was 193:, a successful actor in the 16:English composer (1874–1934) 7: 6223:English classical composers 5671:(public domain audiobooks) 5636:Free scores by Gustav Holst 5626:Free scores by Gustav Holst 5483:. Aldershot: Scolar Press. 5382:The Music Lover's Companion 5288:. London: Faber and Faber. 5156:. London: Hamish Hamilton. 5137:. London: Hamish Hamilton. 4657:Dickinson (1995), pp. 96—97 4140:. 25 June 1934. p. 11. 4059:Mowat, Christopher (1998). 3904:. 22 April 1923. p. 9. 3855:"Holst's 'Hymn of Jesus'". 3713:. 24 June 1921. p. 13. 3572:. 12 June 1911. p. 10. 3170:Holst, Gustav (1974), p. 23 2935:Holst (1969), pp. 13 and 15 1770: 1209:New York Symphony Orchestra 1070: 607:Passmore Edwards Settlement 599:James Allen's Girls' School 572:premiered Holst's symphony 51:Gustavus Theodore von Holst 10: 6314: 6243:English Romantic composers 5585:(2008). Hugh Cobbe (ed.). 5324:The Great Composers: Holst 5245:Letters to W. G. Whittaker 5194:. Harmondsworth: Penguin. 5123: 4955:. 9 June 1928. p. 12. 4126:Hughes and Van Thal, p. 86 4061:Notes to Naxos CD 8.553696 3922:. 15 May 1923. p. 12. 3246:. 26 May 1897. p. 12. 3242:"The Hospital for Women". 2401:Royal Philharmonic Society 1972:describes the piece as "a 1662: 1347: 1107:Chicago Symphony Orchestra 900:. Holst cast his friends' 726:University College, London 643:According to the composer 18: 6288:Musicians from Cheltenham 6027: 6001: 5980: 5962: 5927:I Vow to Thee, My Country 5897: 5881: 5848: 5818: 5765: 5726: 5717: 5481:Charles Villiers Stanford 5419:March, Ivan, ed. (2007). 5343:The Music of Gustav Holst 4881:Holst (1986), pp. 100–101 4409:Dickinson (1995), pp. 7–9 3109:Vaughan Williams, Ralph. 2793:. 26 May 1934. p. 7. 2189: 2102:(LSO) in 1922, using the 2100:London Symphony Orchestra 1930:for flute, viola and oboe 1898:"Boar's Head" scene from 1759:The Sorcerer's Apprentice 1733:I Vow to Thee, My Country 1235:in the British premiere. 756:based on a tale from the 728:, to study the language. 370:Charles Villiers Stanford 326:Charles Villiers Stanford 221:Cheltenham Grammar School 89:Charles Villiers Stanford 6278:Military music composers 6273:British male trombonists 6198:British ballet composers 5612:Britten-Pears Foundation 5438:Mitchell, Jon C (2001). 5117:. Retrieved 28 July 2021 5090:"In the Bleak Midwinter" 4917:Dickinson (1995), p. 157 4899:Dickinson (1995), p. 154 4744:"The Unfamiliar Holst". 4575:Dickinson (1995), p. 168 4566:Dickinson (1995), p. 169 4548:Dickinson (1995), p. 167 4485:Dickinson (1995), p. 192 3645:Short, pp. 126 & 136 3209:Vaughan Williams, p. 252 3143:de Val, Dorothy (2013). 2765:Dickinson (1957), p. 135 2717:"Holst, Gustav Theodore" 2668:"Buttling a Way to Fame" 2464:, and suggests that the 1710:. Holst began composing 1354: 1343: 1204:for brass band of 1928. 946:Independent Labour Party 852: 816:also meant much to him. 720:texts, particularly the 342:Holst's lifelong friend 219:. Holst was educated at 69:English folksong revival 6238:English opera composers 6233:English music arrangers 6203:British music educators 5583:Vaughan Williams, Ralph 5541:Short, Michael (1990). 5502:. London: Triad Press. 5458:Moore, Jerrold Northrop 5404:Elgar: Orchestral Music 4863:Quoted in Short, p. 351 4835:(subscription required) 4731:The Manchester Guardian 4719:Dickinson (1995), p. 36 4684:Dickinson (1995), p. 25 4530:Dickinson (1995), p. 22 4476:Dickinson (1995), p. 20 4463:(subscription required) 4434:(subscription required) 4371:Encyclopædia Britannica 4352:(subscription required) 4323:(subscription required) 4215:Quoted in Short, p. 347 4205:(subscription required) 4108:Holst (1981), pp. 78–82 4048:(subscription required) 3995:(subscription required) 3941:Holst (1981), pp. 60–61 3889:(subscription required) 3690:Holst (1969), pp. 51–52 3558:Holst (1981), pp. 30–31 3548:(subscription required) 3472:(subscription required) 3445:Graebe, Martin (2011). 3310:Dickinson (1957), p. 37 3067:(subscription required) 2854:(subscription required) 2734:(subscription required) 2676:(subscription required) 2664:(subscription required) 2600:(subscription required) 2337:'s funeral in May 1898. 1866:The influential critic 1802:Five English Folk Songs 1543:Two Songs without Words 1029:Holst's inscription on 764:Hymns from the Rig Veda 611:St Paul's Girls' School 590:St Paul's Girls' School 539:Carl Rosa Opera Company 309:Samuel Coleridge-Taylor 101:St Paul's Girls' School 6218:Concert band composers 5518:Sackville-West, Edward 5479:Rodmell, Paul (2002). 5341:Holst, Imogen (1986). 5322:Holst, Imogen (1981). 5284:Holst, Imogen (1974). 5243:Holst, Gustav (1974). 5152:Boult, Adrian (1979). 4136:"In Memory of Holst". 2662:, p. 27, 5 April 1932 2585:. Grove Music Online. 2397:Howland Memorial Prize 2236: 2226:In the Bleak Midwinter 2198: 2126:for Columbia in 1926. 2072:Penguin Music Magazine 1903: 1784: 1677: 1563: 1190:Second Choral Symphony 1168:University of Michigan 1098: 1039: 937: 832: 689: 636:player Helen Gaskell. 593: 517: 420:Ralph Vaughan Williams 344:Ralph Vaughan Williams 305:Royal College of Music 291:Royal College of Music 156: 93:Ralph Vaughan Williams 85:Royal College of Music 43: 5949:First Choral Symphony 5756:The Wandering Scholar 5665:Works by Gustav Holst 5367:. London: Macmillan. 5226:Holmes, Paul (1998). 5173:Holst's Music—A Guide 3636:Mitchell, pp. 139–140 2953:The Musical Quarterly 2647:, 16 May 1929, p. 1; 2234: 2194: 2180:The Wandering Scholar 2034:Three Choirs Festival 2004:The Wandering Scholar 1897: 1821:text, the apocryphal 1778: 1749:Symphonie fantastique 1672: 1562: 1406:The Cotswold Symphony 1301:The Wandering Scholar 1219:Thomas Hardy's Wessex 1103:New York Philharmonic 1096: 1077:University of Reading 1047:So we're going to do 1028: 935: 831:is fixed to the front 822: 710:Walt Whitman Overture 672: 587: 507: 500:Professional musician 152: 47:Gustav Theodore Holst 31: 6208:Brass band composers 5720:List of compositions 5522:Desmond Shawe-Taylor 5207:Gibbs, Alan (2000). 5009:12 June 2018 at the 4998:12 June 2018 at the 4951:"Gramophone Notes". 4936:"Columbia Records". 4648:Holst (1980), p. 663 4539:Holst (1980), p. 662 4400:Holst (1986), p. 134 4252:Holst (1980), p. 661 4166:Holst (1980), p. 664 3918:"The Perfect Fool". 2666:; and Jones, Idwal. 2435:What is a Horoscope? 2303:Gilbert and Sullivan 2256:Notes and references 2186:have been recorded. 2147:, and another under 2086:company he recorded 1793:Six Choral Folksongs 1725:A Vigil of Pentecost 1691:Fünf Orchesterstücke 1628:'s translation from 1518:Two Eastern Pictures 1418:The Mystic Trumpeter 1334:Chichester Cathedral 1138:Holst's comic opera 772:Two Eastern Pictures 706:The Mystic Trumpeter 580:Composer and teacher 541:and toured with the 297:Gilbert and Sullivan 275:Bourton-on-the-Water 176:was of German origin 5943:O Spiritual Pilgrim 5567:. London: Pimlico. 5528:. London: Collins. 5423:. London: Penguin. 5209:Holst Among Friends 4822:10.1093/ml/73.2.244 4809:Music & Letters 4767:Holst (1986), p. 72 4335:"Maybrick, Michael" 4117:Holst (1981), p. 82 4099:Holst (1981), p. 78 4081:Holst (1981), p. 80 3953:Holst (1981), p. 64 3932:Holst (1981), p. 59 3821:Holst (1969), p. 77 3800:Boult (1979), p. 33 3791:Boult (1979), p. 34 3773:Boult (1979), p. 32 3764:Boult (1973), p. 35 3654:Holst (1981), p. 41 3618:Holst (1981), p. 40 3591:Holst (1969), p. 43 3522:Music & Letters 3406:Holst (1981), p. 25 3397:Holst (1981), p. 24 3355:Holst (1969), p. 30 3328:Holst (1981), p. 30 3319:Holst (1969), p. 24 3301:Holst (1969), p. 29 3292:Holst (1981), p. 28 3283:Holst (1969), p. 15 3265:Holst (1981), p. 27 3232:Holst (1981), p. 60 3223:Holst (1981), p. 23 3200:Holst (1981), p. 21 3191:Holst (1969), p. 17 3182:Holst (1969), p. 16 3024:Holst (1969), p. 11 3015:Holst (1981), p. 19 2965:10.1093/mq/II.2.199 2903:Holst (1981), p. 17 2873:Holst (1969), p. 20 2828:Music & Letters 2803:Holst (1981), p. 15 2789:"Mr Gustav Holst". 2655:Too True to Be Good 2149:Sir Malcolm Sargent 1969:Music & Letters 1781:William Rothenstein 1539:A Somerset Rhapsody 1531:A Somerset Rhapsody 1514:The Cloud Messenger 880:H. Balfour Gardiner 876:The Cloud Messenger 793:Alexander Mackenzie 776:The Cloud Messenger 632:and the oboist and 621:from 1907 to 1924. 210:Childhood and youth 6263:English socialists 5849:Concert/brass band 5749:At the Boar's Head 5175:. London: Thames. 4983:March, pp. 617–623 4908:Short, pp. 319–320 4890:Short, pp. 324–325 4634:Short, pp. 130–131 4625:Short, pp. 128–129 4593:Short, pp. 126–127 4229:Short, pp. 336–338 3978:The New York Times 3739:The London Gazette 3535:10.1093/ml/1.4.305 3451:Folk Music Journal 3337:Gibbs, pp. 161–162 2926:Holst (1969), p. 8 2864:Holst (1969), p. 9 2841:10.1093/ml/1.3.181 2779:Holst (1969), p. 7 2756:Mitchell, pp. 3–4. 2674:, 7 November 1937 2672:The New York Times 2660:The New York Times 2622:Holst (1969) p. 52 2496:Holst (1969), p. 6 2475:Symphony of Psalms 2462:Appalachian Spring 2429:Holst was reading 2237: 2184:At the Boar's Head 2159:ballet music; the 1942:At the Boar's Head 1904: 1795:of 1916, based on 1785: 1740:Dirge and Hymeneal 1678: 1564: 1497:The chamber opera 1428:Experimental years 1308:Harvard University 1282:Belshazzar's Feast 1228:The New York Times 1195:At the Boar's Head 1099: 1040: 981:George Butterworth 964:October Revolution 938: 833: 778:(a setting of the 690: 594: 543:Scottish Orchestra 518: 187:All Saints' Church 159:Holst was born in 157: 44: 6043: 6042: 6019:Theodor von Holst 5954:A Choral Fantasia 5913:The Hymn of Jesus 5809:Brook Green Suite 5218:978-0-905210-59-9 5154:Music and Friends 4780:The Musical Times 4278:(1695): 269–272. 4271:The Musical Times 3872:Musical Quarterly 3128:(subscription or 2242:The Hymn of Jesus 2094:and the complete 2050:Brook Green Suite 2030:A Choral Fantasia 1947:Henry IV, Parts 1 1814:The Hymn of Jesus 1579: 1547:Songs of the West 1368:points to the 12 1329:, in March 1934. 1326:Brook Green Suite 1160:Royal Opera House 1115:The Hymn of Jesus 1004:The Hymn of Jesus 835:Holst was a keen 801:Somerset Rhapsody 797:Folk-Song Society 762:; four groups of 516:in his right arm. 145:Family background 6305: 6108: 6107: 6106: 6096: 6095: 6084: 6083: 6082: 6072: 6071: 6070: 6060: 6059: 6058: 6051: 6034: 6033: 6002:Related articles 5866:A Moorside Suite 5827:A Fugal Concerto 5795:A Fugal Overture 5766:Orchestral works 5742:The Perfect Fool 5704: 5697: 5690: 5681: 5680: 5676: 5675: 5660:Internet Archive 5600: 5578: 5561:Tippett, Michael 5556: 5537: 5526:The Record Guide 5513: 5494: 5475: 5453: 5434: 5415: 5400:Kennedy, Michael 5395: 5376: 5356: 5337: 5318: 5299: 5280: 5258: 5239: 5222: 5203: 5186: 5167: 5148: 5118: 5112: 5106: 5105: 5103: 5101: 5086: 5080: 5079: 5077: 5075: 5070:on 22 April 2015 5060: 5054: 5051: 5045: 5042: 5036: 5033: 5027: 5020: 5014: 4990: 4984: 4981: 4975: 4972: 4966: 4963: 4957: 4956: 4948: 4942: 4941: 4933: 4927: 4924: 4918: 4915: 4909: 4906: 4900: 4897: 4891: 4888: 4882: 4879: 4873: 4870: 4864: 4861: 4855: 4852: 4846: 4843: 4837: 4836: 4833: 4803: 4797: 4796: 4787:(986): 305–310. 4774: 4768: 4765: 4759: 4756: 4750: 4749: 4741: 4735: 4734: 4726: 4720: 4717: 4711: 4710: 4694: 4685: 4682: 4676: 4673: 4667: 4664: 4658: 4655: 4649: 4646: 4635: 4632: 4626: 4623: 4617: 4614: 4603: 4600: 4594: 4591: 4585: 4582: 4576: 4573: 4567: 4564: 4558: 4555: 4549: 4546: 4540: 4537: 4531: 4528: 4522: 4519: 4513: 4510: 4504: 4501: 4495: 4492: 4486: 4483: 4477: 4474: 4465: 4464: 4461: 4445: 4436: 4435: 4432: 4416: 4410: 4407: 4401: 4398: 4392: 4389: 4383: 4380: 4374: 4363: 4354: 4353: 4350: 4348: 4346: 4331: 4325: 4324: 4321: 4305: 4296: 4295: 4262: 4253: 4250: 4239: 4236: 4230: 4227: 4216: 4213: 4207: 4206: 4203: 4201: 4199: 4184:Kennedy, Michael 4180: 4167: 4164: 4151: 4148: 4142: 4141: 4133: 4127: 4124: 4118: 4115: 4109: 4106: 4100: 4097: 4091: 4088: 4082: 4079: 4073: 4072: 4056: 4050: 4049: 4046: 4018: 4012: 4011: 4003: 3997: 3996: 3993: 3991: 3989: 3969: 3963: 3960: 3954: 3951: 3942: 3939: 3933: 3930: 3924: 3923: 3915: 3906: 3905: 3897: 3891: 3890: 3887: 3867: 3861: 3860: 3852: 3846: 3845: 3837: 3831: 3830:Mitchell, p. 212 3828: 3822: 3819: 3813: 3810: 3801: 3798: 3792: 3789: 3783: 3782:Mitchell, p. 165 3780: 3774: 3771: 3765: 3762: 3753: 3752:Mitchell, p. 161 3750: 3744: 3743: 3730: 3724: 3721: 3715: 3714: 3706: 3700: 3697: 3691: 3688: 3682: 3681:Mitchell, p. 156 3679: 3673: 3670: 3664: 3661: 3655: 3652: 3646: 3643: 3637: 3634: 3628: 3625: 3619: 3616: 3610: 3607: 3601: 3600:Mitchell, p. 126 3598: 3592: 3589: 3583: 3582:Mitchell, p. 118 3580: 3574: 3573: 3565: 3559: 3556: 3550: 3549: 3546: 3516: 3510: 3507: 3501: 3500:Short, pp. 74–75 3498: 3492: 3489: 3483: 3480: 3474: 3473: 3470: 3468: 3466: 3442: 3425: 3422: 3416: 3413: 3407: 3404: 3398: 3395: 3386: 3383: 3374: 3371: 3365: 3362: 3356: 3353: 3347: 3344: 3338: 3335: 3329: 3326: 3320: 3317: 3311: 3308: 3302: 3299: 3293: 3290: 3284: 3281: 3275: 3272: 3266: 3263: 3257: 3254: 3248: 3247: 3239: 3233: 3230: 3224: 3221: 3210: 3207: 3201: 3198: 3192: 3189: 3183: 3180: 3171: 3168: 3159: 3158: 3156: 3154: 3140: 3134: 3133: 3126: 3124: 3122: 3106: 3087: 3084: 3078: 3075: 3069: 3068: 3065: 3049: 3043: 3040: 3034: 3031: 3025: 3022: 3016: 3013: 2998: 2995: 2989: 2988: 2986: 2984: 2950: 2942: 2936: 2933: 2927: 2924: 2913: 2912:Short, pp. 17–18 2910: 2904: 2901: 2895: 2892: 2883: 2880: 2874: 2871: 2865: 2862: 2856: 2855: 2852: 2822: 2813: 2810: 2804: 2801: 2795: 2794: 2786: 2780: 2777: 2766: 2763: 2757: 2754: 2745: 2742: 2736: 2735: 2732: 2730: 2728: 2715:(January 2011). 2709: 2678: 2677: 2665: 2649:Atkinson, Brooks 2641: 2635: 2632: 2623: 2620: 2611: 2608: 2602: 2601: 2598: 2596: 2594: 2575: 2518: 2515: 2509: 2506: 2497: 2494: 2479: 2454: 2448: 2444: 2438: 2427: 2421: 2414:Michael Maybrick 2410: 2404: 2389: 2383: 2376: 2370: 2367: 2361: 2354: 2348: 2344: 2338: 2327: 2321: 2318: 2312: 2299: 2293: 2290: 2284: 2280: 2274: 2270: 2222:Benjamin Britten 2207: 2136:The Record Guide 2104:acoustic process 2024: 2023: 2022: 2021: 1987:A Moorside Suite 1900:Henry IV, Part 1 1872:The Perfect Fool 1839: 1581: 1580: 1561: 1535:Norfolk Rhapsody 1201:A Moorside Suite 1141:The Perfect Fool 466:Socialist League 425:Jude the Obscure 366:Frederick Bridge 339: 322: 284:Hungarian Dances 125:Benjamin Britten 38: 35: 6313: 6312: 6308: 6307: 6306: 6304: 6303: 6302: 6118: 6117: 6114: 6104: 6102: 6090: 6080: 6078: 6074:Classical Music 6068: 6066: 6056: 6054: 6046: 6044: 6039: 6023: 5997: 5981:Named for Holst 5976: 5958: 5893: 5877: 5844: 5833:Double Concerto 5814: 5781:St Paul's Suite 5761: 5722: 5713: 5708: 5673: 5607: 5597: 5575: 5553: 5510: 5491: 5472: 5450: 5431: 5406:. London: BBC. 5392: 5361:Hughes, Gervase 5353: 5334: 5315: 5296: 5277: 5255: 5219: 5183: 5164: 5145: 5126: 5121: 5113: 5109: 5099: 5097: 5088: 5087: 5083: 5073: 5071: 5062: 5061: 5057: 5052: 5048: 5043: 5039: 5034: 5030: 5021: 5017: 5011:Wayback Machine 5000:Wayback Machine 4991: 4987: 4982: 4978: 4973: 4969: 4964: 4960: 4950: 4949: 4945: 4935: 4934: 4930: 4925: 4921: 4916: 4912: 4907: 4903: 4898: 4894: 4889: 4885: 4880: 4876: 4871: 4867: 4862: 4858: 4853: 4849: 4844: 4840: 4834: 4804: 4800: 4775: 4771: 4766: 4762: 4757: 4753: 4743: 4742: 4738: 4727: 4723: 4718: 4714: 4695: 4688: 4683: 4679: 4674: 4670: 4665: 4661: 4656: 4652: 4647: 4638: 4633: 4629: 4624: 4620: 4615: 4606: 4601: 4597: 4592: 4588: 4583: 4579: 4574: 4570: 4565: 4561: 4556: 4552: 4547: 4543: 4538: 4534: 4529: 4525: 4520: 4516: 4511: 4507: 4502: 4498: 4493: 4489: 4484: 4480: 4475: 4468: 4462: 4446: 4439: 4433: 4417: 4413: 4408: 4404: 4399: 4395: 4390: 4386: 4381: 4377: 4364: 4357: 4351: 4344: 4342: 4333: 4332: 4328: 4322: 4306: 4299: 4266:Matthews, Colin 4263: 4256: 4251: 4242: 4237: 4233: 4228: 4219: 4214: 4210: 4204: 4197: 4195: 4188:"Holst, Gustav" 4181: 4170: 4165: 4154: 4149: 4145: 4135: 4134: 4130: 4125: 4121: 4116: 4112: 4107: 4103: 4098: 4094: 4089: 4085: 4080: 4076: 4057: 4053: 4047: 4019: 4015: 4006:"Egdon Heath". 4005: 4004: 4000: 3994: 3987: 3985: 3970: 3966: 3961: 3957: 3952: 3945: 3940: 3936: 3931: 3927: 3917: 3916: 3909: 3899: 3898: 3894: 3888: 3868: 3864: 3854: 3853: 3849: 3839: 3838: 3834: 3829: 3825: 3820: 3816: 3811: 3804: 3799: 3795: 3790: 3786: 3781: 3777: 3772: 3768: 3763: 3756: 3751: 3747: 3731: 3727: 3722: 3718: 3708: 3707: 3703: 3698: 3694: 3689: 3685: 3680: 3676: 3671: 3667: 3662: 3658: 3653: 3649: 3644: 3640: 3635: 3631: 3626: 3622: 3617: 3613: 3608: 3604: 3599: 3595: 3590: 3586: 3581: 3577: 3567: 3566: 3562: 3557: 3553: 3547: 3517: 3513: 3509:Mitchell, p. 91 3508: 3504: 3499: 3495: 3490: 3486: 3481: 3477: 3471: 3464: 3462: 3443: 3428: 3423: 3419: 3414: 3410: 3405: 3401: 3396: 3389: 3384: 3377: 3372: 3368: 3363: 3359: 3354: 3350: 3345: 3341: 3336: 3332: 3327: 3323: 3318: 3314: 3309: 3305: 3300: 3296: 3291: 3287: 3282: 3278: 3273: 3269: 3264: 3260: 3255: 3251: 3241: 3240: 3236: 3231: 3227: 3222: 3213: 3208: 3204: 3199: 3195: 3190: 3186: 3181: 3174: 3169: 3162: 3152: 3150: 3141: 3137: 3127: 3120: 3118: 3107: 3090: 3085: 3081: 3077:Mitchell, p. 15 3076: 3072: 3066: 3050: 3046: 3041: 3037: 3032: 3028: 3023: 3019: 3014: 3001: 2996: 2992: 2982: 2980: 2943: 2939: 2934: 2930: 2925: 2916: 2911: 2907: 2902: 2898: 2893: 2886: 2881: 2877: 2872: 2868: 2863: 2859: 2853: 2823: 2816: 2811: 2807: 2802: 2798: 2788: 2787: 2783: 2778: 2769: 2764: 2760: 2755: 2748: 2743: 2739: 2733: 2726: 2724: 2710: 2681: 2675: 2663: 2642: 2638: 2633: 2626: 2621: 2614: 2609: 2605: 2599: 2592: 2590: 2583:"Holst, Gustav" 2579:Matthews, Colin 2576: 2521: 2516: 2512: 2507: 2500: 2495: 2491: 2482: 2455: 2451: 2445: 2441: 2428: 2424: 2411: 2407: 2393:Yale University 2390: 2386: 2377: 2373: 2368: 2364: 2355: 2351: 2345: 2341: 2335:W. E. Gladstone 2328: 2324: 2319: 2315: 2308:H.M.S. Pinafore 2300: 2296: 2291: 2287: 2281: 2277: 2271: 2267: 2258: 2214:Michael Tippett 2209: 2202:A tribute from 2200: 2192: 2161:St Paul's Suite 2108:St Paul's Suite 2080: 2054:St Paul's Suite 2020: 2015: 2014: 2013: 2012: 2011: 1938:Choral Symphony 1892: 1837: 1779:Holst drawn by 1773: 1667: 1661: 1654: 1642:St Paul's Suite 1624:, a setting of 1622:Hecuba's Lament 1599: 1598: 1590: 1588: 1587: 1586: 1585: 1582: 1575: 1572: 1565: 1559: 1526: 1451: 1442:Dido and Aeneas 1430: 1410:Suite de ballet 1401: 1387:and occasional 1377:time signatures 1366:Michael Kennedy 1357: 1352: 1346: 1254:Choral Fantasia 1181:Choral Symphony 1176: 1156:Eugene Goossens 1117:, described in 1073: 976: 974:First World War 910:St Paul's Suite 860:The Fairy-Queen 855: 663:Mass in G minor 588:Blue plaque at 582: 502: 474:Kelmscott House 438:Dido and Aeneas 413:Herbert Howells 397:Götterdämmerung 381:Richard Strauss 350: 349: 348: 347: 346: 340: 331: 330: 329: 323: 293: 271:Wyck Rissington 212: 197:, New York and 155: 147: 142: 137: 135:Life and career 121:Michael Tippett 65:Richard Strauss 41:Herbert Lambert 36: 24: 21:Holst (surname) 17: 12: 11: 5: 6311: 6301: 6300: 6295: 6290: 6285: 6280: 6275: 6270: 6265: 6260: 6255: 6250: 6245: 6240: 6235: 6230: 6225: 6220: 6215: 6210: 6205: 6200: 6195: 6190: 6185: 6180: 6175: 6170: 6165: 6160: 6155: 6150: 6145: 6140: 6135: 6130: 6113: 6112: 6110:United Kingdom 6100: 6088: 6076: 6064: 6041: 6040: 6028: 6025: 6024: 6022: 6021: 6016: 6014:Snape Maltings 6011: 6005: 6003: 5999: 5998: 5996: 5995: 5990: 5984: 5982: 5978: 5977: 5975: 5974: 5966: 5964: 5960: 5959: 5957: 5956: 5951: 5946: 5939: 5938: 5937: 5923: 5916: 5909: 5901: 5899: 5895: 5894: 5892: 5891: 5885: 5883: 5879: 5878: 5876: 5875: 5868: 5863: 5858: 5852: 5850: 5846: 5845: 5843: 5842: 5839:Lyric Movement 5835: 5830: 5822: 5820: 5816: 5815: 5813: 5812: 5805: 5798: 5791: 5784: 5777: 5769: 5767: 5763: 5762: 5760: 5759: 5752: 5745: 5738: 5730: 5728: 5724: 5723: 5718: 5715: 5714: 5707: 5706: 5699: 5692: 5684: 5678: 5677: 5662: 5653: 5648: 5643: 5633: 5623: 5614: 5606: 5605:External links 5603: 5602: 5601: 5595: 5579: 5573: 5557: 5551: 5538: 5514: 5508: 5495: 5489: 5476: 5470: 5454: 5448: 5435: 5429: 5416: 5396: 5390: 5377: 5357: 5351: 5338: 5332: 5319: 5313: 5300: 5294: 5281: 5275: 5259: 5253: 5240: 5223: 5217: 5204: 5187: 5181: 5168: 5162: 5149: 5143: 5135:My Own Trumpet 5125: 5122: 5120: 5119: 5107: 5081: 5055: 5046: 5037: 5035:Tippett, p. 15 5028: 5015: 4985: 4976: 4967: 4958: 4943: 4928: 4919: 4910: 4901: 4892: 4883: 4874: 4865: 4856: 4847: 4838: 4798: 4769: 4760: 4751: 4736: 4721: 4712: 4686: 4677: 4668: 4659: 4650: 4636: 4627: 4618: 4604: 4595: 4586: 4577: 4568: 4559: 4550: 4541: 4532: 4523: 4514: 4505: 4496: 4487: 4478: 4466: 4452:(166): 35–40. 4437: 4423:(160): 27–36. 4411: 4402: 4393: 4384: 4375: 4355: 4326: 4297: 4284:10.2307/961565 4254: 4240: 4231: 4217: 4208: 4168: 4152: 4143: 4128: 4119: 4110: 4101: 4092: 4083: 4074: 4051: 4035:10.2307/941241 4013: 3998: 3964: 3955: 3943: 3934: 3925: 3907: 3892: 3862: 3847: 3832: 3823: 3814: 3802: 3793: 3784: 3775: 3766: 3754: 3745: 3725: 3716: 3701: 3692: 3683: 3674: 3665: 3656: 3647: 3638: 3629: 3620: 3611: 3602: 3593: 3584: 3575: 3560: 3551: 3529:(4): 305–317. 3511: 3502: 3493: 3484: 3475: 3426: 3417: 3408: 3399: 3387: 3375: 3366: 3357: 3348: 3339: 3330: 3321: 3312: 3303: 3294: 3285: 3276: 3267: 3258: 3249: 3234: 3225: 3211: 3202: 3193: 3184: 3172: 3160: 3135: 3088: 3079: 3070: 3044: 3042:Rodmell, p. 49 3035: 3026: 3017: 2999: 2997:Mitchell, p. 9 2990: 2937: 2928: 2914: 2905: 2896: 2894:Mitchell, p. 6 2884: 2875: 2866: 2857: 2814: 2805: 2796: 2781: 2767: 2758: 2746: 2737: 2679: 2636: 2624: 2612: 2603: 2519: 2517:Mitchell, p. 2 2510: 2508:Mitchell, p. 3 2498: 2488: 2481: 2480: 2449: 2439: 2422: 2405: 2384: 2371: 2362: 2349: 2339: 2322: 2313: 2294: 2285: 2275: 2264: 2257: 2254: 2193: 2191: 2188: 2079: 2076: 2059:Lyric Movement 2016: 1922:Fugal Concerto 1913:Fugal Overture 1902:(1853 outline) 1891: 1888: 1772: 1769: 1663:Main article: 1660: 1655: 1653: 1652:Full flowering 1650: 1626:Gilbert Murray 1617:F major (1911) 1589: 1583: 1573: 1568: 1567: 1566: 1557: 1556: 1555: 1525: 1522: 1450: 1447: 1429: 1426: 1400: 1397: 1356: 1353: 1345: 1342: 1317:duodenal ulcer 1269:Colin Matthews 1217:, inspired by 1175: 1172: 1072: 1069: 1056:Sir Henry Wood 999:St John's Wood 975: 972: 854: 851: 774:(1909–10) and 698:Robert Bridges 687:Robert Bridges 619:Morley College 581: 578: 501: 498: 462:William Morris 443:Lyceum Theatre 362:W. S. Rockstro 354:Georges Jacobi 341: 334: 333: 332: 324: 317: 316: 315: 314: 313: 292: 289: 267:Merton College 246:and above all 211: 208: 191:Ernest Cossart 153: 146: 143: 141: 138: 136: 133: 97:Morley College 61:Richard Wagner 39:photograph by 32:Gustav Holst, 15: 9: 6: 4: 3: 2: 6310: 6299: 6296: 6294: 6291: 6289: 6286: 6284: 6281: 6279: 6276: 6274: 6271: 6269: 6266: 6264: 6261: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6234: 6231: 6229: 6226: 6224: 6221: 6219: 6216: 6214: 6211: 6209: 6206: 6204: 6201: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6181: 6179: 6176: 6174: 6171: 6169: 6166: 6164: 6161: 6159: 6156: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6134: 6131: 6129: 6126: 6125: 6123: 6116: 6111: 6101: 6099: 6094: 6089: 6087: 6077: 6075: 6065: 6063: 6053: 6052: 6049: 6038: 6037: 6026: 6020: 6017: 6015: 6012: 6010: 6007: 6006: 6004: 6000: 5994: 5993:Holst Singers 5991: 5989: 5986: 5985: 5983: 5979: 5973: 5972: 5968: 5967: 5965: 5961: 5955: 5952: 5950: 5947: 5944: 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5463: 5459: 5455: 5451: 5449:0-7734-7522-2 5445: 5441: 5436: 5432: 5430:0-14-103336-3 5426: 5422: 5417: 5413: 5409: 5405: 5401: 5397: 5393: 5391:0-413-27920-0 5387: 5383: 5378: 5374: 5370: 5366: 5362: 5358: 5354: 5352:0-19-315458-7 5348: 5344: 5339: 5335: 5333:0-571-09967-X 5329: 5325: 5320: 5316: 5314:0-333-23111-2 5310: 5306: 5301: 5297: 5295:0-571-10004-X 5291: 5287: 5282: 5278: 5276:0-19-315417-X 5272: 5268: 5264: 5263:Holst, Imogen 5260: 5256: 5254:0-85261-106-4 5250: 5246: 5241: 5237: 5233: 5229: 5224: 5220: 5214: 5210: 5205: 5201: 5197: 5193: 5188: 5184: 5182:0-905210-45-X 5178: 5174: 5169: 5165: 5163:0-241-10178-6 5159: 5155: 5150: 5146: 5144:0-241-02445-5 5140: 5136: 5132: 5131:Boult, Adrian 5128: 5127: 5116: 5111: 5095: 5091: 5085: 5069: 5065: 5059: 5053:Short, p. 339 5050: 5044:Short, p. 337 5041: 5032: 5025: 5019: 5012: 5008: 5005: 5001: 4997: 4994: 4989: 4980: 4971: 4965:Short, p. 247 4962: 4954: 4947: 4939: 4932: 4926:Short, p. 205 4923: 4914: 4905: 4896: 4887: 4878: 4872:Short, p. 420 4869: 4860: 4851: 4845:Short, p. 263 4842: 4831: 4827: 4823: 4819: 4816:(2): 244–67. 4815: 4811: 4810: 4802: 4794: 4790: 4786: 4782: 4781: 4773: 4764: 4758:Short, p. 214 4755: 4747: 4740: 4732: 4725: 4716: 4708: 4704: 4701:(209): 7–13. 4700: 4693: 4691: 4681: 4675:Gibbs, p. 128 4672: 4666:Short, p. 137 4663: 4654: 4645: 4643: 4641: 4631: 4622: 4613: 4611: 4609: 4599: 4590: 4584:Short, p. 123 4581: 4572: 4563: 4557:Short, p. 122 4554: 4545: 4536: 4527: 4518: 4509: 4500: 4491: 4482: 4473: 4471: 4459: 4455: 4451: 4444: 4442: 4430: 4426: 4422: 4415: 4406: 4397: 4391:Short, p. 105 4388: 4379: 4373: 4372: 4367: 4362: 4360: 4340: 4336: 4330: 4319: 4315: 4311: 4304: 4302: 4293: 4289: 4285: 4281: 4277: 4273: 4272: 4267: 4261: 4259: 4249: 4247: 4245: 4235: 4226: 4224: 4222: 4212: 4193: 4189: 4185: 4179: 4177: 4175: 4173: 4163: 4161: 4159: 4157: 4150:Short, p. 346 4147: 4139: 4132: 4123: 4114: 4105: 4096: 4087: 4078: 4070: 4066: 4062: 4055: 4044: 4040: 4036: 4032: 4028: 4024: 4017: 4009: 4002: 3983: 3979: 3975: 3968: 3959: 3950: 3948: 3938: 3929: 3921: 3914: 3912: 3903: 3896: 3885: 3881: 3877: 3873: 3866: 3858: 3851: 3843: 3836: 3827: 3818: 3812:Short, p. 171 3809: 3807: 3797: 3788: 3779: 3770: 3761: 3759: 3749: 3741: 3740: 3735: 3729: 3723:Short, p. 159 3720: 3712: 3705: 3699:Short, p. 144 3696: 3687: 3678: 3669: 3663:Short, p. 135 3660: 3651: 3642: 3633: 3627:Short, p. 151 3624: 3615: 3609:Short, p. 117 3606: 3597: 3588: 3579: 3571: 3564: 3555: 3544: 3540: 3536: 3532: 3528: 3524: 3523: 3515: 3506: 3497: 3491:Short, p. 207 3488: 3479: 3460: 3456: 3452: 3448: 3441: 3439: 3437: 3435: 3433: 3431: 3421: 3412: 3403: 3394: 3392: 3385:Rubbra, p. 30 3382: 3380: 3373:Rubbra, p. 41 3370: 3364:Rubbra, p. 40 3361: 3352: 3346:Gibbs, p. 168 3343: 3334: 3325: 3316: 3307: 3298: 3289: 3280: 3271: 3262: 3253: 3245: 3238: 3229: 3220: 3218: 3216: 3206: 3197: 3188: 3179: 3177: 3167: 3165: 3148: 3147: 3139: 3131: 3116: 3112: 3105: 3103: 3101: 3099: 3097: 3095: 3093: 3083: 3074: 3063: 3059: 3055: 3048: 3039: 3030: 3021: 3012: 3010: 3008: 3006: 3004: 2994: 2978: 2974: 2970: 2966: 2962: 2958: 2954: 2949: 2941: 2932: 2923: 2921: 2919: 2909: 2900: 2891: 2889: 2879: 2870: 2861: 2850: 2846: 2842: 2838: 2835:(3): 181–90. 2834: 2830: 2829: 2821: 2819: 2809: 2800: 2792: 2785: 2776: 2774: 2772: 2762: 2753: 2751: 2741: 2722: 2718: 2714: 2713:Warrack, John 2708: 2706: 2704: 2702: 2700: 2698: 2696: 2694: 2692: 2690: 2688: 2686: 2684: 2673: 2669: 2661: 2657: 2656: 2650: 2646: 2640: 2631: 2629: 2619: 2617: 2607: 2588: 2584: 2580: 2574: 2572: 2570: 2568: 2566: 2564: 2562: 2560: 2558: 2556: 2554: 2552: 2550: 2548: 2546: 2544: 2542: 2540: 2538: 2536: 2534: 2532: 2530: 2528: 2526: 2524: 2514: 2505: 2503: 2493: 2489: 2487: 2486: 2477: 2476: 2471: 2467: 2466:Hymn of Jesus 2463: 2459: 2453: 2443: 2436: 2432: 2426: 2419: 2418:The Holy City 2415: 2409: 2402: 2398: 2394: 2388: 2381: 2375: 2366: 2359: 2353: 2343: 2336: 2332: 2326: 2317: 2310: 2309: 2304: 2298: 2289: 2279: 2269: 2265: 2263: 2262: 2253: 2251: 2247: 2243: 2233: 2229: 2227: 2223: 2218: 2215: 2208: 2206: 2205: 2204:Edmund Rubbra 2197: 2187: 2185: 2181: 2177: 2173: 2172: 2166: 2162: 2158: 2154: 2150: 2146: 2142: 2138: 2137: 2132: 2129:In the early 2127: 2125: 2121: 2120:Albert Coates 2117: 2113: 2109: 2105: 2101: 2097: 2093: 2092:Marching Song 2089: 2085: 2075: 2073: 2069: 2065: 2064:Lionel Tertis 2061: 2060: 2055: 2051: 2047: 2043: 2039: 2035: 2031: 2026: 2019: 2010:bit too much 2009: 2005: 2000: 1998: 1994: 1989: 1988: 1983: 1979: 1975: 1971: 1970: 1965: 1961: 1957: 1955: 1954: 1949: 1948: 1943: 1939: 1935: 1931: 1929: 1924: 1923: 1919: 1918:neo-classical 1915: 1914: 1909: 1901: 1896: 1887: 1885: 1881: 1877: 1873: 1869: 1868:Ernest Newman 1864: 1862: 1861:Ernest Walker 1858: 1854: 1850: 1845: 1843: 1836: 1832: 1828: 1824: 1820: 1816: 1815: 1810: 1805: 1803: 1798: 1794: 1790: 1782: 1777: 1768: 1765: 1761: 1760: 1755: 1751: 1750: 1745: 1741: 1736: 1734: 1730: 1726: 1721: 1720:rhythmic cell 1716: 1713: 1709: 1708: 1703: 1702: 1697: 1693: 1692: 1687: 1683: 1676: 1671: 1666: 1659: 1649: 1647: 1643: 1639: 1635: 1631: 1627: 1623: 1618: 1614: 1613:E flat (1909) 1610: 1606: 1605: 1597: 1595: 1571: 1554: 1552: 1548: 1544: 1540: 1536: 1532: 1521: 1519: 1515: 1511: 1506: 1502: 1501: 1495: 1493: 1488: 1482: 1480: 1475: 1470: 1468: 1464: 1463:Stephen Adams 1460: 1456: 1449:Indian period 1446: 1443: 1439: 1435: 1425: 1423: 1419: 1415: 1411: 1407: 1396: 1394: 1390: 1386: 1382: 1378: 1373: 1371: 1370:Humbert Wolfe 1367: 1363: 1351: 1341: 1339: 1335: 1330: 1328: 1327: 1322: 1318: 1314: 1309: 1305: 1303: 1302: 1297: 1293: 1292: 1286: 1284: 1283: 1278: 1274: 1270: 1266: 1265: 1260: 1256: 1255: 1249: 1247: 1242: 1238: 1234: 1230: 1229: 1224: 1220: 1216: 1215: 1210: 1205: 1203: 1202: 1197: 1196: 1191: 1187: 1183: 1182: 1171: 1169: 1165: 1161: 1157: 1153: 1149: 1148: 1143: 1142: 1136: 1133: 1128: 1126: 1122: 1121: 1116: 1112: 1108: 1104: 1095: 1091: 1089: 1088: 1082: 1078: 1068: 1064: 1061: 1057: 1052: 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Apart from 126: 122: 118: 117:Edmund Rubbra 113: 108: 106: 102: 98: 94: 90: 86: 82: 76: 74: 73:Maurice Ravel 70: 66: 62: 58: 57: 52: 48: 42: 30: 26: 22: 6115: 6029: 6009:Imogen Holst 5969: 5920:Ode to Death 5918: 5911: 5898:Choral music 5870: 5837: 5825: 5807: 5800: 5793: 5786: 5779: 5772: 5754: 5747: 5740: 5733: 5711:Gustav Holst 5710: 5632:(ChoralWiki) 5617:Gustav Holst 5586: 5564: 5542: 5525: 5500:Gustav Holst 5499: 5480: 5461: 5439: 5420: 5403: 5381: 5364: 5342: 5323: 5304: 5285: 5267:Gustav Holst 5266: 5244: 5227: 5208: 5191: 5172: 5153: 5134: 5115:Holst Museum 5110: 5098:. Retrieved 5084: 5072:. Retrieved 5068:the original 5058: 5049: 5040: 5031: 5023: 5018: 4988: 4979: 4970: 4961: 4952: 4946: 4937: 4931: 4922: 4913: 4904: 4895: 4886: 4877: 4868: 4859: 4850: 4841: 4813: 4807: 4801: 4784: 4778: 4772: 4763: 4754: 4745: 4739: 4733:. p. 5. 4730: 4724: 4715: 4698: 4680: 4671: 4662: 4653: 4630: 4621: 4598: 4589: 4580: 4571: 4562: 4553: 4544: 4535: 4526: 4521:Short, p. 82 4517: 4508: 4503:Short, p. 65 4499: 4490: 4481: 4449: 4420: 4414: 4405: 4396: 4387: 4382:Short, p. 61 4378: 4369: 4366:Gustav Holst 4343:. Retrieved 4329: 4312:(158): 2–7. 4309: 4275: 4269: 4238:Gibbs, p. 25 4234: 4211: 4196:. Retrieved 4146: 4137: 4131: 4122: 4113: 4104: 4095: 4086: 4077: 4060: 4054: 4026: 4022: 4016: 4007: 4001: 3986:. Retrieved 3977: 3967: 3958: 3937: 3928: 3919: 3902:The Observer 3901: 3895: 3875: 3871: 3865: 3856: 3850: 3842:The Observer 3841: 3835: 3826: 3817: 3796: 3787: 3778: 3769: 3748: 3737: 3728: 3719: 3710: 3704: 3695: 3686: 3677: 3668: 3659: 3650: 3641: 3632: 3623: 3614: 3605: 3596: 3587: 3578: 3569: 3563: 3554: 3526: 3520: 3514: 3505: 3496: 3487: 3482:Short, p. 88 3478: 3463:. Retrieved 3454: 3450: 3420: 3415:Short, p. 55 3411: 3402: 3369: 3360: 3351: 3342: 3333: 3324: 3315: 3306: 3297: 3288: 3279: 3274:Short, p. 28 3270: 3261: 3252: 3243: 3237: 3228: 3205: 3196: 3187: 3151:. Retrieved 3145: 3138: 3119:. Retrieved 3086:Moore, p. 26 3082: 3073: 3053: 3047: 3038: 3029: 3020: 2993: 2981:. Retrieved 2956: 2952: 2940: 2931: 2908: 2899: 2882:Short, p. 16 2878: 2869: 2860: 2832: 2826: 2808: 2799: 2790: 2784: 2761: 2744:Short, p. 11 2740: 2725:. Retrieved 2671: 2659: 2654: 2644: 2639: 2634:Short, p. 10 2606: 2591:. Retrieved 2513: 2492: 2484: 2483: 2473: 2465: 2461: 2452: 2442: 2437:at the time. 2434: 2425: 2408: 2387: 2379: 2374: 2365: 2352: 2342: 2325: 2316: 2306: 2297: 2288: 2278: 2268: 2260: 2259: 2245: 2241: 2238: 2219: 2210: 2201: 2199: 2195: 2183: 2179: 2175: 2169: 2164: 2160: 2157:Perfect Fool 2156: 2140: 2134: 2128: 2123: 2112:Country Song 2111: 2107: 2095: 2091: 2087: 2081: 2071: 2057: 2053: 2049: 2045: 2041: 2029: 2027: 2017: 2007: 2003: 2001: 1996: 1985: 1981: 1967: 1963: 1959: 1958: 1951: 1945: 1941: 1937: 1934:chamber work 1927: 1920: 1911: 1908:counterpoint 1905: 1899: 1879: 1875: 1871: 1865: 1856: 1852: 1849:Ode to Death 1848: 1846: 1841: 1834: 1831:John Tavener 1826: 1823:Acts of John 1812: 1808: 1806: 1801: 1797:West Country 1792: 1788: 1786: 1757: 1747: 1739: 1737: 1724: 1717: 1711: 1705: 1699: 1690: 1685: 1681: 1679: 1674: 1657: 1645: 1641: 1621: 1602: 1600: 1591: 1551:James Curnow 1546: 1542: 1538: 1534: 1530: 1527: 1517: 1513: 1510:chromaticism 1505:John Warrack 1498: 1496: 1491: 1483: 1478: 1471: 1458: 1454: 1452: 1441: 1431: 1421: 1417: 1413: 1409: 1405: 1402: 1389:polytonality 1374: 1361: 1358: 1331: 1324: 1306: 1299: 1295: 1289: 1287: 1280: 1272: 1262: 1252: 1250: 1245: 1240: 1236: 1226: 1212: 1206: 1199: 1193: 1189: 1184:to words by 1179: 1177: 1152:Maggie Teyte 1145: 1139: 1137: 1129: 1124: 1120:The Observer 1118: 1114: 1110: 1100: 1087:Ode to Death 1085: 1080: 1074: 1065: 1059: 1053: 1048: 1044:Adrian Boult 1041: 1034: 1033:'s score of 1031:Adrian Boult 1009: 1002: 992: 988: 977: 953: 951: 939: 908: 906: 895: 875: 873: 868: 858: 856: 844: 840: 834: 800: 786: 779: 775: 771: 763: 757: 747: 744:Tito Ricordi 737: 733: 730: 709: 705: 702:Walt Whitman 694:Thomas Hardy 691: 683:Thomas Hardy 679:Walt Whitman 656: 642: 638: 623: 595: 573: 559: 551: 547:Hans Richter 532: 529: 522: 519: 478:Bernard Shaw 459: 454: 446: 436: 430: 423: 417: 405: 395: 389: 385:Queen's Hall 377:Imogen Holst 374: 358:Hubert Parry 351: 300: 294: 282: 263:counterpoint 260: 252: 228: 213: 184: 173: 164: 158: 128: 111: 109: 77: 54: 50: 46: 45: 25: 6133:1934 deaths 6128:1874 births 5872:Hammersmith 5819:Concertante 5802:Egdon Heath 5788:The Planets 3734:"No. 30928" 3709:"Savitri". 3457:(1): 5–41. 2610:Short, p. 9 2433:'s booklet 2165:The Planets 2141:The Planets 2124:The Planets 2042:Egdon Heath 1982:The Planets 1976:dance in a 1964:The Planets 1960:Egdon Heath 1890:Later works 1884:Edwin Evans 1870:considered 1809:The Planets 1800:Williams's 1789:The Planets 1712:The Planets 1682:The Planets 1675:The Planets 1665:The Planets 1658:The Planets 1438:Romanticism 1422:The Planets 1399:Early works 1393:Jane Joseph 1362:The Planets 1338:George Bell 1273:Egdon Heath 1264:Hammersmith 1246:Egdon Heath 1241:Egdon Heath 1223:Olin Downes 1214:Egdon Heath 1174:Later years 1132:Byron Adams 1111:The Planets 1067:June 1919. 1060:The Planets 1049:The Planets 1036:The Planets 989:The Planets 985:Cecil Coles 942:Conrad Noel 915:Brook Green 897:The Planets 865:The Old Vic 829:blue plaque 805:Cecil Sharp 759:Mahabharata 634:cor anglais 615:Hammersmith 566:Dan Godfrey 470:Hammersmith 236:Mendelssohn 169:Cirencester 140:Early years 129:The Planets 112:The Planets 56:The Planets 37: 1921 6122:Categories 5988:Holst Peak 5963:Film score 4029:(4): 850. 3878:(4): 584. 2485:References 2470:Stravinsky 2333:played at 2078:Recordings 2068:Robin Hull 2038:Gloucester 1764:fff to ppp 1686:Phantastes 1646:Phantastes 1609:minimalism 1594:media help 1494:(scales). 1436:into late 1434:Schoenberg 1385:bitonality 1348:See also: 1164:concussion 1081:alma mater 955:a cappella 902:horoscopes 888:Arnold Bax 752:(1908), a 714:Max Müller 675:Max Müller 630:Joan Cross 534:répétiteur 510:Cheltenham 402:Fritz Hart 161:Cheltenham 6062:Biography 5971:The Bells 5774:Beni Mora 5534:500373060 5412:252020259 5236:650194212 5024:Crescendo 4993:"Savitri" 4953:The Times 4938:The Times 4746:The Times 4138:The Times 4008:The Times 3920:The Times 3857:The Times 3711:The Times 3570:The Times 3244:The Times 3132:required) 3056:: 19–31. 2791:The Times 2645:The Times 2273:musician. 2250:Pittville 2098:with the 2088:Beni Mora 1978:siciliano 1974:larghetto 1936:. Of the 1910:, in his 1880:The Times 1876:The Times 1804:of 1913. 1701:Nocturnes 1638:plainsong 1630:Euripides 1604:Beni Mora 1414:Ave Maria 1321:Cotswolds 1296:Capriccio 1291:The Bells 1237:The Times 1125:The Times 1016:deed poll 892:astrology 869:The Times 846:Beni Mora 781:Meghadūta 658:Petrushka 537:with the 524:The Times 482:madrigals 203:theosophy 199:Hollywood 6036:Category 5669:LibriVox 5563:(1991). 5524:(1955). 5460:(1992). 5402:(1970). 5373:16739230 5363:(1960). 5265:(1969). 5200:26234192 5133:(1973). 5100:25 March 5094:Archived 5074:20 April 5007:Archived 4996:Archived 4339:Archived 4198:14 April 4192:Archived 4069:39462589 3982:Archived 3459:Archived 3121:22 March 3115:Archived 2977:Archived 2721:Archived 2593:22 March 2587:Archived 2431:Alan Leo 2283:pupils." 2084:Columbia 1928:Terzetto 1771:Maturity 1412:and the 1381:ostinato 1313:Broadway 1147:Parsifal 1071:Post-war 1020:Salonica 958:carol, " 952:Holst's 884:Clifford 768:Kālidāsa 739:Ramayana 722:Rig Veda 718:Sanskrit 626:Vittoria 592:, London 568:and the 514:neuritis 256:neuritis 248:Sullivan 230:Horatius 227:'s poem 225:Macaulay 195:West End 81:neuritis 6048:Portals 5934:Thaxted 5735:Sāvitri 5658:at the 5642:(IMSLP) 5638:at the 5628:in the 5124:Sources 5092:. 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