Gustav Holst: A Research and Information Guide (Routledge Music Bibliographies)

GUSTAV HOLST ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES COMPOSERS Isaac Albéniz (1998) Walter A. Clark Frederick D...

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GUSTAV HOLST

ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES COMPOSERS Isaac Albéniz (1998) Walter A. Clark

Frederick Delius, Second edition (2009) Mary Christison Huismann

C. P. E. Bach (2002) Doris Bosworth Powers

Gaetano Donizetti, Second edition (2009) James P. Cassaro

Samuel Barber, Second edition (2010) Wayne C. Wentzel

Edward Elgar (1993) Christopher Kent

Béla Bartók, Second edition (1997) Elliott Antokoletz and Paolo Susanni Vincenzo Bellini, Second edition (2009) Stephen A. Willier Alban Berg, Second edition (2009) Bryan R. Simms Leonard Bernstein (2001) Paul F. Laird Johannes Brahms, Second edition (2011) Heather Platt Benjamin Britten (1996) Peter J Hodgson William Byrd, Second edition (2005) Richard Turbet Elliott Carter (2000) John L. Link Carlos Chávez (1998) Robert Parker

Gabriel Fauré (1999) Edward R. Phillips Alberto Ginastera (2010) Deborah Schwartz-Kates Christoph Willibald Gluck, Second edition (2003) Patricia Howard Charles François Gounod (2009) Timothy S. Flynn

Guillaume de Machaut (1995) Lawrence Earp Gustav and Alma Mahler (2008) Susan M. Filler Felix Mendelssohn Bartholdy, Second edition (2011) John Michael Cooper with Angela R. Mace Olivier Messiaen (2008) Vincent P. Benitez Giovanni Pierluigi da Palestrina (2001) Clara Marvin Giacomo Puccini (1999) Linda B. Fairtile Maurice Ravel (2004) Stephen Zank

G.F. Handel, Second edition (2004) Mary Ann Parker

Gioachino Rossini, Second edition (2010) Denise P. Gallo

Paul Hindemith, Second edition (2009) Stephen Luttmann

Camille Saint-Saëns (2003) Timothy S. Flynn

Gustav Holst (2011) Mary Christison Huismann Charles Ives, Second edition (2010) Gayle Sherwood Magee Scott Joplin (1998) Nancy R. Ping-Robbins

Frédéric Chopin (1999) William Smialek

Zoltán Kodály (1998) Mícheál Houlahan and Philip Tacka

Aaron Copland (2001) Marta Robertson and Robin Armstrong

Franz Liszt, Third edition (2009) Michael Safﬂe

Alessandro and Domenico Scarlatti (1993) Carole F. Vidali Heinrich Schenker (2003) Benjamin Ayotte Alexander Scriabin (2004) Ellon D. Carpenter Jean Sibelius (1998) Glenda D. Goss Giuseppe Verdi (1998) Gregory Harwood Tomás Luis de Victoria (1998) Eugene Casjen Cramer

Richard Wagner, Second edition (2010) Michael Safﬂe Adrian Willaert (2004) David Michael Kidger

GENRES American Music Librarianship (2005) Carol June Bradley Blues, Funk, R&B, Soul, Hip Hop, and Rap (2010) Eddie S. Meadows Chamber Music, Third edition (2010) John H. Baron Choral Music, Second edition (2011) Avery T. Sharp and James Michael Floyd

Church and Worship Music (2005) Avery T. Sharp and James Michael Floyd

The Recorder, Second edition (2003) Richard Griscom and David Lasocki

The Concerto (2006) Stephen D. Lindeman

Serial Music and Serialism (2001) John D. Vander Weg

Ethnomusicology (2003) Jennifer C. Post Jazz Scholarship and Pedagogy, Third edition (2005) Eddie S. Meadows The Madrigal (2011) Susan Lewis Hammond The Musical (2011) William A. Everett Piano Pedagogy (2009) Gilles Comeau

String Quartets, Second edition (2010) Mara E. Parker The Violin (2006) Mark Katz Women in Music, Second edition (2010) Karin Pendle and Melinda Boyd

GUSTAV HOLST A RESEARCH AND INFORMATION GUIDE

MARY CHRISTISON HUISMANN

ROUTLEDGE MUSIC BIBLIOGRAPHIES

First published 2011 by Routledge 270 Madison Ave, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2011. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to ww w.eBookstore.tandf.co.uk. © 2011 Taylor & Francis The right of Mary Christison Huismann to be identiﬁed as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identiﬁcation and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Huismann, Mary Christison. Gustav Holst : a research and information guide / Mary Christison Huismann. p. cm. – (Routledge music bibliographies) Includes bibliographical references and index. 1. Holst, Gustav, 1874–1934–Bibliography. 2. Holst, Gustav, 1874–1934–Discography. I. Title. ML134.H75H85 2011 016.78092–dc22 2010033736 ISBN 0-203-88886-3 Master e-book ISBN

ISBN: 978-0-415-99525-2 (hbk) ISBN: 978-0-203-88886-5 (ebk)

To Rick and Andrew, with much love Soli Deo Gloria!

Contents Preface

xi

Acknowledgments

xv

I. Biography Biographical sketch Chronology List of works II. Bibliography Source materials Holst’s writings Correspondence Diaries Collected edition Catalogs Collections Archives and special collections Images Media Scores Quotations Holst’s life and works Biographical dictionaries and encyclopedias Collective biographical sources Life and works Holst’s family Places associated with Holst People associated with Holst Memorials and anniversaries Career Holst in context Compositional process and style Assessments of Holst’s music and reputation Genre studies and studies of multiple works Studies of individual works

1 1 4 7 35 35 35 38 41 41 42 43 43 47 50 50 51 51 51 55 56 67 72 76 84 89 98 105 119 124 149 ix

x

Contents

Related works Book reviews

195 199

III. Discography

203

Index of works

243

Name index

248

Keyword index

257

Preface “He has something to tell us that only he can say and he has found the only way of saying it”1 Composer Ralph Vaughan Williams’s quote about his dear friend illustrates the paradox that is Gustav Holst. Holst is everywhere, yet nowhere. Holst’ s works are a staple of the community band repertoire; likewise, his carol settings are frequently heard in the holiday season. Most people have heard at least a snippet of The Planets, either in music appreciation class or as background music. So why , when compared to his peers, is Holst not better represented in the scholarly literature? The quote by Vaughan Williams gets at the heart of the matter . Holst had a highly individualistic manner of writing—he frequently composed to solve a theoretical problem then moved on. He did not found a notable compositional school or style, so there was no one to carry his ﬂame afterward. Holst hated publicity and regularly turned down recognition and awards for his accomplishments. If not for the tireless work of his daughter Imogen and others, Holst’ s work might have been quite forgotten. A survey of the Holst literature shows that interest in Holst’ s life and works increased near the time of his centenary . Both Imogen Holst and Michael Short published signiﬁcant tomes for the Holst centenary in 1974.2 The present work builds on these excellent foundations, providing citations to print and electronic resources. PURPOSE AND SCOPE As with other volumes of the series, this text provides citations to the core Holst literature. The volume is intended for students and researchers, as well as those seeking an introduction to Holst. The inclusion of materials for the non-specialist seems entirely appropriate as Holst devoted much of his career to teaching amateur musicians. The contents of this book presents a selective, annotated list of essential materials published through the end of 2009, although a very few exceptions were made for a limited number of post-2009 print and web resources. Citations have been gathered through a search of appropriate print and electronic indexes accessed primarily through the University of Minnesota MNCAT library gateway, including the Music Index, International Index to Music Periodicals, RILM Abstracts of Music Literatur e, WorldCat, and other standard databases, library catalogs, and musical reference works. xi

xii

Preface

An entirely subjective selection of reviews has been included, primarily focused on feature reviews, comparative reviews of scores or recordings, and performance reviews. Preference was given to those reviews of signiﬁcant performances or by signiﬁcant authors, the presence of extra features such as illustrations or summaries of critical reaction, and to those easily accessible to the average researcher. CRITERIA FOR SELECTION All substantial, relevant writings in English and the major European languages in all formats published through the end of 2009 have been considered for inclusion. Preference in the ﬁnal selection was given to those materials easily accessible through normal library and research methods. The following types of materials are included: • Full-length monographs solely devoted to the life and works of Holst • Chapters and monographs with signiﬁcant discussion about Holst • Articles in scholarly journals • Newspaper articles available in electronic format, or reprinted in books • Doctoral dissertations primarily from North American universities • Selected master’s level theses chosen for unique content • Selected reviews of performances, recordings, and scores • Curriculum materials teaching lessons on Holst or his music • Web sites and Internet resources related to Holst The following types of materials were generally excluded: • • • • • • • • • •

Textbooks and general histories of music Newspaper articles and reviews not available in reprint or elec tronic format Reviews of single recordings or scores Brief news notes or announcements Uncompleted doctoral dissertations or master’s theses Undergraduate theses or seminar papers Prefaces to musical scores Liner notes Curriculum materials in which Holst’s music appears, but is not discussed Non-western European foreign language materials

CONTENTS OF THE BOOK The information in each chapter is organized as follows: Chapter 1. Biography. This section contains a biographical sketch, chronology of Holst’s life and compositions, and a list of Holst’ s works. The works are

Preface

xiii

arranged in a classiﬁed list based on the thematic catalogue compiled by Imogen Holst.3 An alphabetical list of works has also been included. Chapter II. Bibliography. This lengthy chapter has been divided into several subsections. The ﬁrst section deals with source materials: writings by Holst (including articles, published lectures, and miscellaneous writings), published correspondence, diaries, and the contents of the Collected Facsimile Edition of Holst’s works. The next section contains citations for various catalogs, including thethematic catalog. Following this section are various collections of materials: archives and special collections, images, media, scores, and quotations. The list of images is not comprehensive, but represents images that are documented or presented in electronic format. Likewise, the lists of media and scores represent those available in electronic format. As web-based resources frequently appear and disappear, the selection of resources here can best be described as a “snapshot in time.” Holst’s life and works are covered in the next section; there are subsections devoted to Holst’s family, places and people associated with Holst, memorials, and anniversaries. With regard to Imogen Holst (a notable musician in her own right), materials cited in her part of the family section were chieﬂy limited to those providing an overview of her life and works, and those directly relating to her work on her father’s behalf. The multifaceted career of Holst is treated next, divided by facet (e.g., or ganist, trombonist, teacher, composer, conductor). A look at “Holst in context” provides citations to works that discuss Holst in the context of his colleagues and history. The next section contains citations to materials about Holst’ s compositional process and style. Several facets, such as inﬂuences, have been broken out. Assessments of Holst’s music and reputation round out this section of the book. The ﬁnal section of the book contains studies of genres, multiple works, and individual works. Related works, such as dance set to music of Holst follow the individual works. Reviews of the “core” Holst monograph literature wrap up the chapter. Chapter III. Discography. The discography has been designed to pick up where the comprehensive discography compiled by Eric Hughes (see no. 674) leaves of f. The Hughes discography covered materials through 1974; the current selective list is limited to commercially available discs issued between 1975 and 2009. The list excludes performances by youth or school groups, music clinics, self-issued recordings, digital (streamed) audio, excerpts of works on “themed” albums or multi-disc sets (e.g., “Heavy Classix” or “Reader’s Digest”-type compilations). Indexes. There are indexes for titles of Holst’ s compositions, names, and keywords. ARRANGEMENT OF ENTRIES In general, citations follow the format of edition.

The Chicago Manual of Style , 15th

xiv

Preface

Entries are arranged alphabetically by author, unless noted otherwise. Unattributed articles appear ﬁrst, followed by those with author attribution. Monographs generally precede portions of books or articles; in most cases there are subheadings directing the reader . Reprint and other publication information are generally combined with the citation for the original publication, unless the entry would prove to be too complicated with such an arrangement. Each citation is accompanied by an annotation that gives a brief, objective description of the contents of the item. In a few cases it was not possible to per sonally examine the actual material. Annotations for those items are marked “Not available for examination.” Library of Congress classiﬁcation numbers and International Standard Book Numbers (ISBN) have been provided when available for monographs. NOTES 1 Ralph Vaughan Williams, Vaughan Williams On Music , p. 300 (see no. 175). The remarks were originally made at the Holst Memorial Concert, BBC radio, June 22, 1934. 2 Imogen Holst, A Thematic Catalogue of Gustav Holst’s Music (see no. 41) and Michael Short, Gustav Holst, 1874-1934: A Centenary Documentation (see no. 43). 3 Imogen Holst, op cit.

Acknowledgments Once again, I am indebted to the many individuals and institutions who have contributed in various ways to my latest project. I would like to thank Laura Kinnear, Curator of the Holst Birthplace Museum for her patience in answering my questions. I owe a multitude of thanks to my colleagues at the University of Minnesota Libraries, particularly Linda Haack Lomker and Kristen Ber gland, for their support of my endeavors. Many thanks are also due to the staff in Interlibrary Loans, Stacks Services, and the Music Library for tracking down my numerous requests for the impossible. I’m simply amazed at the variety of material they were able to obtain on my behalf, and I am truly grateful to all the libraries worldwide who generously lent materials. I would also like to thank the staf f at Routledge for their guidance in the preparation of this manuscript. And last, but certainly not least, I thank my family and friends for their patience, encouragement, and support during this project.

xv

I Biography

BIOGRAPHICAL SKETCH Gustav Holst was born into a musical family that arrived in England when his great-grandfather Matthias von Holst (1769–1854) ﬂed his native Riga. Matthias, of German extraction, served the Imperial Court in St. Petersbur g as composer, pianist, and harp teacher. Matthias’s son, Gustavus Valentine, settled in Cheltenham in the 1830s, where he composed and taught piano and harp. Adolph, the fourth child of Gustavus Valentine, was born in 1846. Like others in his family, he pursued a musical career as pianist and or ganist. In 1871, he married one of his students, singer and pianist Clara Lediard, much to the dismay of her wealthy family. Gustavus Theodore von Holst was born on September 21, 1874, at 4 Pittville Terrace, Cheltenham. The family increased in size with the arrival of another son, Emil Gottfried (1876–1951). Emil became a minor Hollywood actor under the name “Ernest Cossart.” Holst’s early education was at the Cheltenham Grammar School. The family became unraveled in 1882, when Clara died after the stillbirth of her third child. Adolph’s sister Nina, a pianist, came to help with the household. Adolph married another of his students, Mary Thorley Stone. Unfortunately for Gustav and Emil (and Mathias and Thorley, the two sons born of the marriage), she proved to be more interested in theosophy than her family. Although Gustav began piano lessons as a young child, he was sickly and suffered from neuritis in his right arm. He also studied violin and was given trombone lessons as a cure for his asthma. Gustav began composing as a teenager and had scored several local performances of his works. Wanting to study music further, he applied for a scholarship but was unsuccessful. His father was able to send Gustav for a few months’ study of counterpoint with Geor ge Frederick Sims at Merton College, Oxford. When Holst returned to Cheltenham, he was appointed 1

2

Gustav Holst: a research and information guide

organist and choirmaster at the church at Wyck Rissington, a small village in the Cotswolds. He was also appointed conductor of the choral society at Bourton-onthe-Water, giving him a glimpse of dealing with amateur singers and orchestras. Holst developed a great admiration for the Cotswolds on his walking journeys between the two villages. Holst was accepted for study at the Royal College of Music in 1893, where his teachers included Charles Villiers Stanford and Hubert Parry. He was awarded a scholarship for composition in 1895. Holst began to keep a notebook “List of Compositions” in 1895; he continued this practice until 1933. Holst termed many of his early works “Early Horrors.”1 Holst’s early inﬂuences included his composition teachers, Stanford, Purcell, and Wagner, whose music Holst had heard at Covent Garden. But perhaps the most signiﬁcant inﬂuence was yet to come, in the form of fellow student Ralph Vaughan Williams, whom Holst met in 1895. Vaughan Williams was to become Holst’s lifelong friend and colleague. Other inﬂuences came from Walt Whitman and William Morris. Holst became conductor of the Hammersmith Socialist Choir in 1896; one of the choir members included Isobel Harrison, whom Holst mar ried in 1901. Holst became interested in Hindu philosophy and in 1899 studied Sanskrit at the University College, London. Holst also studied trombone at college and worked as a freelance trombonist. Although Holst was offered an extension of his scholarship in 1898, he chose instead to join the Carl Rosa Opera Group as trombonist and répétiteur . Later, Holst joined the Scottish Orchestra in Glasgow. This experience as an orchestral player was invaluable for compositional purposes. During these years, he had continued to compose, but had only published a few songs. In 1903, Holst decided to give up his orchestral career and settled into his teaching career. He took up a teaching post at James Allen Girls’ School in Dulwich, following his friend Ralph Vaughan Williams in the post. Holst was appointed head of music at St. Paul’ s Girls’ School, Hammersmith, in 1905 and was to remain in that position until his death. Holst also served as director of music at Morley College from 1907 to 1924. In the 1920s, Holst held various teaching posts at the Royal College of Music and at University College, Reading. Holst’s life experienced another change in 1907 when his only child, daughter Imogen Clare, was born. Holst’s music room at St. Paul’s Girls’ School proved to be his refuge. The room was soundproofed and provided an escape from the hustle and bustle of home—allowing Holst uninterrupted composition time. As ﬁnances were a perennial problem, the Holsts did not travel much, although Gustav had a few breaks from the normal routine. He was able to visitAlgeria in 1908, which inspired the music of the suite Beni Mora. Holst enjoyed a holiday in Spain with friends Clif ford and Arnold Bax and Henry Balfour Gardiner in 1913. An extended stay at a cottage near Thaxted provided another period of rest in 1914.

Biography

3

Holst was declared “unﬁt” for active war duty because of his poor eyesight and chronic neuritis. As a civilian, Holst became Music Organizer for the YMCA, serving demobilized World War I troops in Salonica and Constantinople from October 1918 to June 1919. Holst ofﬁcially dropped the “von” from his surname at this time. Through his teaching posts, Holst acquired great experience with and love for amateur music-making. He set high standards for his students and was rarely disappointed. For example, his students at Morley College gave the ﬁrst modern performance of Henry Purcell’ s The Fairy Queen. While in Thaxted, Holst founded the Whitsun festival at the local church. These festivals, with their mix of amateur and professional talent, lasted there until Holst’s death. Holst enjoyed an increasing reputation for composition in the prewar years. The Hymn of Jesus , a choral work written in 1917, was quite popular. But it was his orchestral suite The Planets that really boosted Holst’ s reputation. The suite had its start in 1914 and was completed in 1916. Holst’ s friend Henry Balfour Gardiner gave Holst the gift of a private performance of the work (by the New Queen’ s Hall Orchestra, conducted by Adrian Boult) before Holst departed for Salonica. The extreme popularity of The Planets prompted an interest in Holst’s earlier works, including some of his Sanskritinﬂuenced works. Holst suffered a bad fall while conducting at Reading in 1923. Undeterred, he continued on with a trip to the United States to conduct at a festival at the University of Michigan. Upon his return to England, Holst suffered a nervous breakdown and was advised to reduce his activities. He spent the bulk of 1924 in seclusion in Thaxted. The following year, he resigned his teaching posts (with the exception of the St. Paul’s Girls’ School). In 1926, Holst recorded The Planets with the London Symphony Orchestra. He was honored with a festival devoted to his works in Cheltenham, in March 1927. Alhough Holst enjoyed great acclaim from The Planets, he disappointed those who were expecting more compositions from the same mold. He steadfastly remained the individualist, the introvert who retreated from publicity. Holst regularly eschewed awards for his work, but accepted the gold medal of the Royal Philharmonic Society in 1930. Holst travelled again to the United States in 1932, where he served as visiting lecturer in composition at Harvard University . He fell ill in March and returned to England in June. During the last year and a half of his life Holst was a virtual invalid, although he continued to compose. Some of his last works include the Brook Green Suite (a parting gift to the St. Paul’s Girls’ School), the Lyric Movement for viola and orchestra, and the Six Choruses for male voices and strings. In 1934, Holst underwent an operation to remove a duodenal ulcer.He died of heart failure in a nursing home at Beaufort House, Ealing, on May 25, 1934. His ashes were buried in the north transept of Chichester Cathedral on June 24, 1934.

4

Gustav Holst: a research and information guide

CHRONOLOGY

Year

Event

1874

Gustavus Theodore von Holst born on September 21, 4 Pittville Terrace, Cheltenham; ﬁrst child of Adolph and Clara (Lediard) von Holst Brother Emil born Mother Clara dies Father Adolph remarries Educated at Cheltenham Grammar School Becomes organist at Wyck Rissington Church Begins study at the Royal College of Music (RCM), London Conducted the Choral Society at Bourton-on-the-Water Gives up piano study due to neuritis Awarded open scholarship for composition at RCM Meets fellow student Ralph Vaughan Williams Appointed conductor of Hammersmith Socialist Choir Engaged to Isobel Harrison

1876 1882 1885 1887–1991 1892 1893

1894 1895

1896 1897 1898

Leaves RCM, plays trombone in Scottish Orchestra and Carl Rosa Opera Co.

1899

Studied Sanskrit at University College, London

1900 1901 1902 1903

Married Isobel Harrison Gives up trombone career Begins teaching at James Allen’s Girls’ School, Dulwich

Works

The Revoke

Light Leaves Whisper Fantasiestücke Quintet Clear and Cool A Winter Idyll The Youth’s Choice Clouds O’er the Summer Sky Örnulf’s Drapa Four Songs (H14) Walt Whitman Overture Suite de Ballet Five Partsongs (H48) Ave Maria Cotswolds Symphony King Estmere Five Partsongs (H61) Indra Wind Quintet Six Songs (H15) (continued )

Biography Year

5 Event

1904 1905

1906

Appointed Head of Music, St. Paul’s Girls’ School, Hammersmith Conducts ﬁrst performance of Mystic Trumpeter

1907

Birth of only child, Imogen Clare Appointed Director of Music, Morley College for Working Men and Women

1908

Takes holiday in Algeria

1909

1910

1911

GH’s Morley College students give ﬁrst performance (since 1697) of Purcell’s The Fairy Queen

1912

Conducts ﬁrst performance of Beni Mora

1913

Takes holiday in Spain Opens new music wing, St. Paul’s Girls’ School

Works Thou Didst Delight My Eyes The Mystic Trumpeter Six Songs (H16) In the Bleak Midwinter Songs from The Princess A Song of the Night Sita Two Songs without Words Four Old English Carols Songs of the West A Somerset Rhapsody Seven Scottish Airs The Heart Worships Savitri Two Carols Pastoral Hymns from the Rig Veda The Vision of Dame Christian Choral Hymns from the Rig Veda (group 2) O England, My Country Suite No. 1 for Military Band Choral Hymns from the Rig Veda (group 1, 3) Christmas Day The Cloud Messenger Four Partsongs (H110) Beni Mora Three Pieces Hecuba’s Lament Two Eastern Pictures Invocation Suite No. 2 for Military Band Phantastes Incidental Music to a London Pageant Choral Hymns from the Rig Veda (group 4) Psalms 86, 148 Hymn to Dionysus A Dirge for Two Veterans The Swallow Leaves Her Nest The Homecoming St. Paul’s Suite (continued )

6

Gustav Holst: a research and information guide

Year

Event

1914

Works at a cottage near Thaxted Rejected as unﬁt for active war service because of neuritis, bad eyesight

1915 1916

Founds the Whitsun Festival, Thaxted

1917

Completes orchestration of The Planets

1918

Drops the “von” from his surname Sails for Salonica as Musical Organizer for the YMCA for demobilized troops in the Near East B. Gardiner’s gift of private performance of The Planets Appointed to staffs of RCM and University College, Reading (part-time) First incomplete public performance of The Planets Conducts ﬁrst performance of The Hymn of Jesus First complete public performance of The Planets

1919

1920

1921 1922 1923 1924

Suffers fall while conducting at Reading First visit to the United States Nervous breakdown caused by overwork results in a year’s rest at Thaxted

Works

Nunc dimittis Three Festival Choruses This Have I Done for My True Love Lullay, My Liking Of One that is so Fair Bring Us in Good Ale Six Choral Folk Songs The Planets Japanese Suite Phantasy Three Carols The Hymn of Jesus Diverus and Lazarus Two Partsongs (H138) A Dream of Christmas Four Songs (H35) The Sneezing Charm The Perfect Fool

Ode to Death Short Festival Te Deum

Seven Choruses from Alcestis

The Lure I Vow to Thee, My Country The Perfect Fool A Fugal Overture A Fugal Concerto At the Boar’s Head First Choral Symphony The Evening Watch Toccata (continued )

Biography

7

Year

Event

Works

1925

Gives up all teaching posts except St. Paul’s School Conducts London Symphony Orchestra in recording of The Planets

Sing Me the Men Terzetto The Golden Goose Seven Partsongs Chrissemas Day in the Morning The Morning of the Year The Coming of Christ Two Anthems Egdon Heath Folk Song Fragments A Moorside Suite

1926 1927

Holst Festival, Cheltenham

1928

Conducts ﬁrst European performance of Egdon Heath, Cheltenham

1929 1930

Awarded gold medal of the Royal Philharmonic Society after ﬁrst performance of Double Concerto

1931

Conducts ﬁrst performance of A Choral Fantasia Visiting Lecturer in Composition, Harvard University; takes ill and returns to England

1932

1933 1934

Becomes invalid, but continues to compose Dies of heart failure in London on May 25 Ashes interred in Chichester Cathedral

The Dream-City Double Concerto Twelve Songs (H48) The Wandering Scholar A Choral Fantasia Wassail Song Hammersmith: Prelude, Scherzo Nocturne Twelve Welsh Folk Songs Six Choruses Eight Canons Jazz-Band Piece Jig Brook Green Suite Lyric Movement Scherzo

LIST OF WORKS Classiﬁed list of works This summary list of works is based on the thematic catalog compiled by Imogen Holst (see no. 41). The ﬁrst column contains the “H” number from the thematic catalog, followed by the opus number , title, and date of composition. The ﬁnal column contains the volume location for works included in the Collected Facsimile Edition (see no. 39).

8

Gustav Holst: a research and information guide

Dramatic works H. no. Op. no. Title

H7

1

H21

—

H60

11

H89

23

H94

—

H96

25

H101 H102

27a 27b

H114 H122

— —

H143

—

H146

—

H149 H150

— 39

H156

42

H163

45/1

H164

45/2

H170

—

H176

50

H180

—

H184

—

The Revoke (opera in one act; libretto, Fritz Hart) The Idea (children’s operetta in two acts; libretto, Fritz Hart) The Youth’s Choice (opera in one act; libretto, GH) Sita (opera in three acts; libretto, GH from the Ramayana) Nabou, or Kings in Babylon (incidental music to a play by Alice Buckton) Sāvitri (chamber opera in one act; libretto, GH from the Mahābhārata) The Vision of Dame Christian (masque) Incidental Music to the Stepney Children’s Pageant Incidental Music for a London Pageant Philip the King (incidental music to a play by John Maseﬁeld) The Sneezing Charm (incidental music to a play by Clifford Bax) Seven Choruses from Alcestis (Euripides, translated by Gilbert Murray) The Lure (ballet) The Perfect Fool (opera in one act; libretto, GH) At the Boar’s Head (opera in one act; after W. Shakespeare Henry IV) The Golden Goose (choral ballet; libretto, Jane Joseph) The Morning of the Year (choral ballet; text, Steuart Wilson) The Coming of Christ (incidental music; text, John Maseﬁeld) The Wandering Scholar (chamber opera in one act; libretto, Clifford Bax) Two Chants (incidental music the play The Passing of the Essenes by George Moore) The Bells (incidental music for a ﬁlm)

Date of composition

Collected Facsimile Edition

1895 ca. 1896 1902 1900–06 ca. 1908 1908

CFE i

1909 1909 1910–11 ca. 1914 1918 1920 1921 1918–22 1924 1926 1926–27 1927 1929–30 1930 1931

CFE i

Biography

9

Orchestral and band works H. no.

Op. no. Title

H31 H34

— 6

H41 H42 H43 H47 H66 H71

— 7 10 8 13 18

H74 H75 H86 H87 H88

19/1 19/2 21/1 21/2 22

H105 H106 H106A H107 H108 H114

28/1 28/2 — 29/1 — —

H118 H125

29/2 32

H126 H150

33 —

H151

40/1

A Winter Idyll Örnulf’s Drapa (text, Henrik Ibsen, translated by William Archer) baritone voice, orchestra Suite in G minor, string orchestra Walt Whitman, overture Suite de ballet The Cotswolds, symphony in F Indra, symphonic poem The Mystic Trumpeter (text, Walt Whitman) soprano, orchestra A Song of the Night, violin, orchestra Invocation, violoncello, orchestra Songs of the West A Somerset Rhapsody Two Songs without Words, chamber orchestra “Country Song” “Marching Song” First Suite in E۰, military band Second Suite in F, military band Three Folk Tunes, military band Beni Mora, suite Phantastes, suite Incidental Music to a London Pageant, military band, unison chorus St Paul’s Suite, strings The Planets, orchestra (with female chorus, eight voices on “Neptune”) “Mars” “Venus” “Mercury” “Jupiter” “Saturn” “Uranus” “Neptune” Japanese Suite The Perfect Fool [ballet music from op.39] A Fugal Overture

Date of composition

Collected Facsimile Edition

1897 1898 1898 1899 1899 (rev 1912) 1899–1900 1903 1904 1905 1911 1906–07 1906–07 1906

1909 1911 ca. 1911 1909–10 1911 1911 1912–13 1914–16

CFE ii CFE iii

1915 1918 1922 (continued )

10 H. no.

Gustav Holst: a research and information guide Op. no. Title

H152

40/2

H163

—

H164

—

H172 H173 H174

47 — —

H175 H178

49 52

H185

—

H190 H190A H191

— — —

H192

—

Date of composition

1923 A Fugal Concerto, ﬂute, oboe, strings 1926 The Golden Goose, suite [from op.45/1] Dances from The Morning of the Year 1926–27 [from op.45/2] 1927 Egdon Heath (Homage to Hardy) 1928 A Moorside Suite, brass band 1929 The Dream-City, soprano, orchestra, arr. by Colin Matthews from Twelve Songs, 1984 Double Concerto, two violins, orchestra 1929 1930 Hammersmith, military band (later version for orchestra) “Prelude” “Scherzo” Jazz Band Piece, ed. by Imogen Holst 1932 as Capriccio, 1967 1933 Brook Green Suite, strings 1933 Gavotte, string orchestra 1933 Lyric Movement, viola, chamber orchestra 1933–34 Scherzo

Collected Facsimile Edition CFE ii

CFE ii

CFE ii CFE ii

Chamber and solo tnstrumental works H. no.

Op. no.

H5 H6 H8 H8A

— — 2 2

H9

—

H10

—

H11

3

H23

—

Title

Date of composition

Dances, piano duet Duet in D major, two pianos Fantasiestücke, oboe, string quartet Three Pieces, oboe, string quartet [rev. of op. 2] Variations, oboe, clarinet, bassoon, violin, viola, cello Sextet in e minor, oboe, clarinet, bassoon, violin, viola, cello Quintet in a minor, piano, oboe, clarinet, horn, bassoon Scherzo, string sextet

1895 ca. 1899 1896, rev 1910 1910 1896 ca. 1900 1896 1897 (continued )

Biography

11

H. no.

Op. no.

H50

—

H51 H52 H53 H54 H55 H56 H67 H93 H135

— — — — — — 14 — 36

H153 H154 H158 H165 H166

— — — 46/1 46/2

H179

—

Title

Date of composition

Deux Pièces, piano “Fancine” “Lucille” Lied ohne Worte, violin, piano A Spring Song, violin or cello, piano Ländler, two violins, piano Greeting, violin, piano Maya, violin, piano Valse-Etude, violin, piano Wind Quintet, A-ﬂat major Seven Scottish Airs, arr. strings, piano Phantasy Quartet on British Folk Songs, string quartet, withdrawn; arr. by Imogen Holst as Fantasia on Hampshire Folksongs, string orchestra, 1970 Toccata, piano A Piece for Yvonne, piano Terzetto in f minor, oboe, viola Chrissemas Day in the Morning, piano Folk Song Fragments, piano “O! I Hae Seen the Roses Blaw” “The Shoemaker” Two Pieces for Piano “Nocturne” “Jig”

ca. 1901 ca. 1902 ca. 1903 ca. 1903 ca.1903 ca. 1903 ca. 1903 1903 1907 1916

1924 1924 1925 1926 1927 1930

Choral works with orchestra or ensemble H. no.

Op. Title no.

H30

5

H70 H85

17 —

Clear and Cool (text, Charles Kingsley) chorus, orchestra King Estmere (text, anon.) chorus, orchestra Seven Folk Songs unison chorus, orchestra “On the Banks of the Nile” “The Willow Tree” “Our Ship She Lies in Harbour” “I’ll Love My Love” “Claudy Banks” “John Barleycorn” “Spanish Ladies”

Date of Collected composition Facsimile Edition 1897 1903 1906–19

(continued )

12 H. no.

Gustav Holst: a research and information guide Op. Title no. Choral Hymns from the Rig Veda (translated by GH) 1st group, chorus, orchestra “Battle Hymn” “To the Unknown God” “Funeral Hymn” 2nd group, female chorus, orchestra “To Varuna” “To Agni” “Funeral Chant” 3rd group, female chorus, harp, orchestra “Hymn to the Dawn” “Hymn to the Waters” “Hymn to Vena” “Hymn of the Travellers” 4th group, male chorus, strings, brass, percussion “Hymn to Agni” “Hymn to Soma” “Hymn to Manas” “Hymn to Indra” — O England my Country (text, G.K. Menzies) unison chorus, orchestra — Christmas Day (text, trad.) chorus, orchestra 30 The Cloud Messenger (Kalidasa, translated by GH) chorus, orchestra 31/1 Hecuba’s Lament (Euripides, translated by Gilbert Murray) alto solo, female chorus, orchestra 31/2 Hymn to Dionysus (Euripides, translated by Gilbert Murray) female chorus, orchestra — Two Psalms; tenor solo (Ps. 86), chorus, strings, organ or brass Psalm 86 “To my Humble Supplication” (metrical text, J. Bryan) Psalm 148 “Lord Who Hast Made us for Thine Own” (text paraphrase, Frances Ralph Gray) — A Dirge for Two Veterans (text, Walt Whitman) male chorus, brass, percussion — Three Carols; unison chorus, orchestra “I Saw Three Ships” (text, trad.) “Christmas Song” (Personent hodie) (Piae Cantiones, translated by Jane Joseph) “Masters in this Hall” (text, William Morris)

Date of Collected composition Facsimile Edition

26

H97

H98

H99

H100

H103 H109 H111 H115 H116 H117

H121 H133

1908–10

1909

1910

1912

1909 1910 1909–10 1911 1913 1912

1914 1916–17

(continued )

Biography

13

H. no.

Op. Title no.

Date of Collected composition Facsimile Edition

H134

36a Three Festival Choruses; chorus, orchestra “Let All Mortal Flesh” (liturgical, translated by G. Moultrie) “Turn Back O Man” (text, Clifford Bax) “A Festival Chime” (text, Clifford Bax)

1916

H140

37

H144

38

H145 H148

— —

H155

41

H162

44

H167

—

H177

51

H186

53

The Hymn of Jesus (apocryphal Acts of John, translated by GH) 2 choruses, female semichorus, orchestra, 1917 Ode to Death (text, Walt Whitman) chorus, orchestra Short Festival Te Deum, chorus, orchestra I Vow to Thee, My Country (text, Cecil Spring Rice) unison chorus, orchestra [arr. from The Planets, no.4] First Choral Symphony (text, selected by GH from poems of John Keats) soprano solo, chorus, orchestra Seven Partsongs (text, Robert Bridges) soprano solo, female chorus, strings “Say Who Is This?” “O Love, I Complain” “Angel Spirits of Sleep” “When We First Met” “Sorrow and Joy” “Love on My Heart From Heaven Fell” “Assemble All Ye Maidens” Christ Hath a Garden (text, Isaac Watts, adapted by Robert Bridges) chorus, woodwinds, strings A Choral Fantasia (text, Robert Bridges) soprano solo, chorus, organ, strings, brass, percussion Six Choruses (text, medieval Latin, translated by Helen Waddell) male chorus, strings (or organ or piano), orchestra (no. 5) “Intercession” “Good Friday” “Drinking Song” “A Love Song” “How Mighty are the Sabbaths” “Before Sleep”

1917

1919 1919 1921

1923–23

1925–26

ca. 1928

1930

1931–32

CFE iv

14

Gustav Holst: a research and information guide

Other choral works Unaccompanied unless speciﬁed otherwise H. no.

Op. no.

Title

Date of composition

H1

—

1895

H2

—

H3

—

H4

—

H12

—

H13 H15 H16 H18 H20 H22

— — — — — —

H24

—

H40

—

H48

9a

H49 H57 H58

9b — —

H59

—

H61

12

The Autumn Is Old (text, Thomas Hood) chorus The Stars Are with the Voyager (text, Thomas Hood) chorus Spring It Is Cheery (text, Thomas Hood) chorus O Lady, Leave That Silken Thread (text, Thomas Hood) chorus All Night I Waited by the Spring (text, unknown) SSA Three Short Partsongs (text, Heine) SSA There’s a Voice in the Wind (text, unknown) chorus The Kiss (text, Ben Jonson) chorus Ah Tyrant Love chorus Light Leaves Whisper (text, Fritz Hart) chorus Not Unto Us, O Lord (text, Psalm 115) chorus, organ O Spring’s Little Children (text, Francis Thompson) female voices Clouds o’er the Summer Sky (text, Fritz Hart) female chorus two voices, piano Five Partsongs, chorus “Love Is Enough” (text, William Morris) “To Sylvia” (text, Francis Thompson) “Autumn Song” (text, William Morris) “Come Away, Death” (text, William Shakespeare) “A Love Song” (text, William Morris) Ave Maria, female chorus eight voices I Love Thee (text, Thomas Hood) chorus Thou Didst Delight My Eyes (text, Robert Bridges) chorus It Was a Lover and His Lass (text, William Shakespeare) chorus Five Partsongs, chorus “Dream Tryst” (text, Fred Thompson) “Ye Little Birds” (text, Thomas Heywood) “Her Eyes the Glow-worm Lend Thee” (text, Robert Herrick) “Now Is the Month of Maying” (text, anon.) “Come to Me” (text, Christina Rossetti)

1895 1895 1895 ca. 1896 1896 1896 1896 ca. 1897 1896 ca. 1896 1897 ca. 1898 1897–1900

1901 Unknown ca. 1904 ca. 1902 1902–03

(continued )

Biography

15

H. no.

Op. no.

Title

Date of composition

H73

—

1904–05

H76

—

H78 H80

— 20a

H81

—

H82

20b

H91

—

H92 H102A

— —

H104 H110

— —

H112

—

Three Hymns for the English Hymnal chorus, organ “In the Bleak Midwinter” [Cranham] (text, Christina Rossetti) “From Glory to Glory Advancing” [Sheen] (text, Liturgy of St. James, translated by C. W. Humphreys) “Holy Ghost, Come Down” [Bossiney] (text, F. W. Faber) In Youth Is Pleasure (text, Robert Wever) chorus Now Rest Thee from All Care (text, anon.) chorus Songs from The Princess (text, Alfred Lord Tennyson) female chorus 3–8 voices “Sweet and Low” “The Splendour Falls” “Tears, Idle Tears” “O Swallow, Swallow” “Now Sleeps the Crimson Petal” Home They Brought Her Warrior Dead (text, Tennyson) female voices Four Old English Carols (text, anon.) chorus or female chorus, piano “A Babe Is Born” “Now Let Us Sing” “Jesu, Thou the Virgin-Born” “The Saviour of the World” Two Carols (text, anon.) chorus, oboe, violoncello “A Welcome Song” “Terly Terlow” Pastoral (text, anon.) female chorus A Song of London (text, G. K. Menzies) unison chorus, piano A Song of Fairies (text, unknown) SSA Four Partsongs (text, John Greenleaf Whittier) female chorus, piano “Song of the Ship-Builders” “Song of the Shoemakers” “Song of the Fishermen” “Song of the Drovers” Two Eastern Pictures (text, Kalidasa, translated by GH) female chorus, harp “Spring” “Summer”

before 1908 before 1908 1905

1905 1907

1908–16 1908 1909 ca. 1908–09 1910

1911

(continued )

16

Gustav Holst: a research and information guide

H. no.

Op. no.

Title

Date of composition

H113

—

1911

H119

—

H120

—

H124

—

H127

—

H128

34/1

H129

34/2

H130

34/3

H131 H136

34/4 36b

H137 H138

— —

H139

—

H142

—

In Loyal Bonds United (text, Shapcott Wensley) unison chorus, piano The Swallow Leaves Her Nest (text, Thomas Lovell Beddoes) female chorus The Homecoming (text, Thomas Hardy) male chorus Dirge and Hymneal (text, Thomas Lovell Beddoes) SSA, piano Nunc dimittis (text, Roman Catholic liturgy) chorus 8 voices This Have I Done for My True Love (text, trad.) chorus Lullay My Liking (text, anon.), soprano (or tenor) solo, chorus Of One That Is So Fair (text, anon.) SATB solo, chorus Bring Us in Good Ale (text, anon.) chorus Six Choral Folk Songs (text, trad.) arr. chorus or male chorus (which excludes no.2) “I Sowed the Seeds of Love” “There Was a Tree” “Matthew, Mark, Luke and John” “The Song of the Blacksmith” “I Love My Love” “Swansea Town” Diverus and Lazarus (text, trad.) arr. chorus Two Partsongs for Children (text, John Greenleaf Whittier) female chorus 2 voices, piano “The Corn Song” “Song of the Lumbermen” A Dream of Christmas (text, anon.) female chorus 2 voices, strings or piano Here is Joy for Every Age (text, J. M. Neale) SA

H159

43/1

H160

43/2

H161

—

The Evening-Watch (text, Henry Vaughan) chorus 8 voices Sing Me the Men (text, Digby Mackworth Dolben) chorus 9 voices Four Hymns for Songs of Praise “O Valiant Hearts” [Valiant Hearts] (text, J. S. Arkwright) “In This World, the Isle of Dreams [Brookend] (text, Herrick)

before 1913 1913 1915 1915 1916 1916 ca. 1916 1916 1916

ca. 1917 1917

1917 ca. 1918 1924 1925 ca. 1925

(continued )

Biography H. no.

17 Op. no.

H168

—

H169

—

H181

—

H182 H183

— —

H187

—

H188

—

H189

—

Title “Onward, Christian Soldiers” [Prince Rupert] (text, S. Baring-Gould) “I Sought Thee Round About” [Monk Street] (text, Thomas Heywood) Man Born to Toil (text, Robert Bridges) chorus, organ, bells ad lib. Eternal Father (text, Robert Bridges) soprano solo, chorus, organ, bells ad lib. Roadways (text, John Maseﬁeld) unison chorus, piano Wassail Song (text, trad.), arr. chorus Twelve Welsh Folk Songs (text, trad., translated by Steuart Wilson) arr. chorus “Lisa Lan” “Green Grass” “The Dove” “Awake, Awake” “The Nightingale and Linnet” “The Mother-in-Law” “The First Love” “O ‘Twas on a Monday Morning” “My Sweetheart’s Like Venus” “White Summer Rose” “The Lively Pair” “The Lover’s Complaint” Eight Canons (medieval Latin, translated by Helen Waddell) equal voices “If You Love Songs,” three voices “Lovely Venus,” three voices “The Fields of Sorrow,” three voices “David’s Lament for Jonathan,” three voices “O Strong of Heart,” nine voices “Truth of All Truth,” six voices “Evening on the Moselle,” two voices, piano “If ‘Twere the Time of Lilies,” two voices, piano O Spiritual Pilgrim (text, J. E. Flecker) soprano solo, chorus Come Live with Me (text, Christopher Marlowe) canon for two voices

Date of composition

1927 1927 ca. 1931 ca. 1928–30 1930–31

1932

1933 1933

18

Gustav Holst: a research and information guide

Songs Voice with piano accompaniment unless otherwise noted H. no.

Op. no.

Title

Year

H4

—

1897

H14

4

H17

—

H19 H25

— —

H26

—

H27 H28 H29 H32

— — — —

H33 H35

— —

H36 H37 H38 H39 H44 H45 H46 H62 H63 H64 H65 H68

— — — — — — — — — — — 15

O Lady Leave That Silken Thread [second setting] (text, Thomas Hood) Four Songs “Slumber-Song” (text, Charles Kingsley) “Margrete’s Cradle-Song” (text, Henrik Ibsen, translated by William Archer) “Soft and Gently” (text, Heinrich Heine) “Awake, My Heart” (text, Robert Bridges) Song to the Sleeping Lady (text, George Macdonald) The Ballade of Prince Eric (text, Fritz B. Hart) A Lake and a Fairy Boat [second setting] (text, Thomas Hood) Sing Heigh-Ho! [second setting] (text, Charles Kingsley) Airly Beacon (text, Charles Kingsley) Twin Stars Aloft (text, Charles Kingsley) The Day of the Lord (text, Charles Kingsley) Not a Sound But Echoing in Me (text, George Macdonald) Whether We Die or We Live (text, George Meredith) Autumn Song (The Birds That Sing) (text, Robert Bridges) My Joy (text, Robert Bridges) Draw Not Away Thy Hands (text, William Morris) I Scanned Her Picture (text, unknown) Two Brown Eyes (text, unknown) Bhanavar’s Lament (text, George Meredith) Ah, Come Fair Mistress (text, Walter E. Grogan) She Who Is Dear to Me (text, Walter E. Grogan) A Prayer for Light (text, Eric Mackay) Dewy Roses (text, Alfred H. Hyatt) Song of the Woods (text, Alfred H. Hyatt) To a Wild Rose (text, Alfred H. Hyatt) Six Songs, baritone, piano “Invocation to the Dawn” (text, Rig Veda, translated by GH) “Fain Would I Change That Note” (text, anon.), “The Sergeant’s Song” (text, Thomas Hardy) “In a Wood” (text, Thomas Hardy)

1896–98

1897 before 1902 1897 1897 1897 ca. 1897 ca. 1897 1897 1898 ca. 1898 1898 ca. 1898 1896–1900 ca. 1898 1898–99 before 1900 before 1900 before 1904 ca. 1904 before 1904 ca. 1904 1902–03

(continued )

Biography H. no.

19 Op. no.

H69

16

H72 H77 H79 H83

— — — —

H84

—

H84A H90

— 24

Title “Between Us Now” (text, Thomas Hardy) “I Will Not Let Thee Go” (text, Robert Bridges) Six Songs, soprano, piano “Calm is the Morn” (text, Alfred Lord Tennyson) “My True Love Hath my Heart” (text, P. Sidney) “Weep You No More” (text, anon.) “Lovely Kind and Kindly Loving” (text, Nicholas Breton) “Cradle Song” (text, William Blake) “Peace” (text, Alfred Hyatt) Darest Thou Now, O Soul (text, Walt Whitman) Now Sleep and Take Thy Rest (text, James Mabbe) To Hope (text, anon.) Folk Songs from Hampshire “Abroad as I was Walking” “Lord Dunwaters” “The Irish Girl” “Young Reilly” “The New-Mown Hay” “The Willow Tree” “Beautiful Nancy” “Sing Ivy” “John Barleycorn” “Bedlam City” “The Scolding Wife” “The Squire and the Thresher” “The Happy Stranger” “Young Edwin in the Lowlands Low” “Yonder Sits a Fair Young Damsel” “Our Ship She Lies in Harbour” Nine Folk Songs “Sovay” “The Seeds of Love” “The Female Farmer” “Thorneyﬁeld Woods” “Moorﬁelds” “I’ll Love my Love” “Claudy Banks” “On the Banks of the Nile” “Here’s Adieu” Stu mo run (text, trad.) Hymns from the Rig Veda (translated by GH) “Ushas” [Dawn] “Varuna I” [Sky]

Year

1903–04

ca. 1905 ca. 1908 ca. 1908 1906–08

1906–14

1906–07 1907–08

(continued )

20 H. no.

Gustav Holst: a research and information guide Op. no.

H90A H95 H123 H132

— — — 35

H141 H147

— —

H174

48

H174A

—

Title “Maruts” [Stormclouds] “Indra (God of Storm and Battle)” “Varuna II” [The Waters] “Song of the Frogs” “Vac” [Speech] “Creation” “Faith” Ratri (text trans. from Sanskrit by GH) The Heart Worships (text, Alice M. Buckton) A Vigil of Pentecost (text, Alice M. Buckton) 4 Songs (text, anon., 15th century from A Mediaeval Anthology, ed. Mary Segar), voice, violin “Jesu Sweet, Now Will I Sing” “My Soul has Nought but Fire and Ice” “I Sing of a Maiden” “My Leman is So True” May Day Carol (text, trad.) voice, 2 violins The Ballad of Hunting Knowe (text, E. A. Ramsden) 12 Songs (text, Humbert Wolfe) “Persephone” “Things Lovelier” “Now in these Fairylands” “A Little Music” “The Thought” “The Floral Bandit” “Envoi” “The Dream-City” “Journey’s End” “In the Street of Lost Time” “Rhyme” “Betelgeuse” Epilogue (text, Humbert Wolfe)

Year

1907 1907 before 1914 1916–17

ca. 1916 after 1918 1929

1929

Biography

21

Early works (written before 1895) H. no.

Title

Date of composition

App. I, 1 App. I, 2 App. I, 3 App. I, 4 App. I, 5 App. I, 6 App. I, 7 App. I, 8 App. I, 9 App. I, 10 App. I, 11 App. I, 12 App. I, 13 App. I, 14 App. I, 15 App. I, 16 App. I, 17 App. I, 18 App. I, 19 App. I, 20 App. I, 21

“The Harper” [vocal] “The Exile of Erin” [vocal] “Die Spröde” (The Coquette) [vocal] The Strain Upraise [choral] The Listening Angels [choral] Advent Litany [choral] Christmas Carol [choral] March in C Major [organ] Allegretto pastorale [organ] Postlude in C [organ] Funeral March in G minor [organ] Intermezzo [chamber] Scherzo [orchestra] Symphony in C minor [orchestra] Sanctus [choral] New Year Chorus [choral] Arpeggio Study [piano] “I Come from Haunts of Coot and Hern” [vocal] “Sing Heigh-Ho” [vocal] Ode to the North East Wind [choral] Lansdown Castle, or The Sorcerer of Tewkesbury [operetta] “Song of the Valkyrs” [vocal] Introduction and Bolero [piano duet] Bolero [orchestra] “A Lake and a Fairy Boat” [vocal] “There Sits a Bird on Yonder Tree” [vocal] “Anna-Marie” [vocal] “The White Lady’s Farewell” [vocal] Theme and Variations [string quartet] First String Quartet Duet for Organ and Trombone Air and Variations [chamber] Short Trio in E major [chamber] String Trio in G Minor Ave Maria, Maiden Mild [choral] Fathoms Deep Beneath the Water [choral] Now Winter’s Winds Are Banished [choral] “There is Dew for the Flow’ret” [vocal, choral] Summer’s Welcome [choral] Winter and the Birds [choral] Love Wakes and Weeps [choral] Ianthe [operetta] Two Dances from Ianthe [orchestra]

1891 Unknown Unknown ca. 1891–1892 1891 Unknown Unknown ca. 1890–1891 1891 1891 1891 1891 1891 1892 1892 1892 1892 1892 1892 1892 1892

App. I, 22 App. I, 23 App. I, 24 App. I, 25 App. I, 26 App. I, 27 App. I, 28 App. I, 29 App. I, 30 App. I, 31 App. I, 32 App. I, 33 App. I, 34 App. I, 35 App. I, 36 App. I, 37 App. I, 38 App. I, 39 App. I, 40 App. I, 41 App. I, 42 App. I, 42A

1893 1893 1893 1893 1893 1893 1893 1893 1893 1894 1894 1894 1894 1894 1894 1894 1894 1894 1894 1894 ca. 1894 1894

22

Gustav Holst: a research and information guide

Incomplete works and fragments H. no.

Title

Date of composition

App. II, 1 App. II, 2 App. II, 3 App. II, 4 App. II, 5 App. II, 6 App. II, 7 App. II, 8 App. II, 9 App. II, 10 App. II, 11 App. II, 12 App. II, 13 App. II, 14 App. II, 15 App. II, 16 App. II, 17 App. II, 18

Horatius [choral] Wedding March [chamber] Funeral March [chamber] Sailors’ Chorus [choral] Duet: Herald and Tom [vocal] [Fragment of an Allegro] [string quartet] [Fragment of a Scherzo] [string quartet] Children’s Suite [orchestra] [Fragment of an Allegro] [chamber] [Two orchestral pieces] [Four sketches for unidentiﬁed stage works] The Magic Mirror [opera] [Four folk songs] [The] Glory of the West [arrangement] Opera As She Is Wrote Second Choral Symphony The Song of Solomon [incidental music] [Unﬁnished symphony fragments]

ca. 1887 ca. 1891–1892 ca. 1891–1892 ca. 1891–1892 ca. 1891–1892 ca. 1893–1896 ca. 1893–1896 1895 1896 ca. 1896–1897 1896 1896 Unknown Unknown 1917–1918 1926–1931 1933–1934 1933–1934

Arrangements by Holst of other composers’ works H. no.

Title

Date of composition

App. III, 1

1905

App. III, 2 App. III, 3 App. III, 4 App. III, 5 App. III, 6 App. III, 7

Pan’s Anniversary by Ralph Vaughan Williams [a masque by Ben Jonson] Bouree by W.C. Macfarren March by B. Tours Dreaming by B. Tours Minuet d’amour by F.H. Cowen Andantino by E.H. Lemare How Merrily We Live by Michael East

App. III, 8 App. III, 9

Benedictus by William Byrd Help Me, O Lord by Thomas Augustine Arne

App. III, 10 App. III, 11

Adoramus te Christe by Orlando di Lasso [Two duets from King Arthur] by Henry Purcell Morris dance tunes collected/harmonized by Cecil Sharp

App. III, 12

ca. 1906 ca. 1906 ca. 1906 ca. 1906 ca. 1908 Unknown, published 1908 ca. 1908 Unknown, before 1908 ca. 1908 ca. 1910 1910–11 (continued )

Biography

23

H. no.

Title

Date of composition

App. III, 13

Sacred rounds and canons by William Boyce, Samuel Webbe, Richard Woodward, Thomas Norris, William Hayes News from Whydah by H. Balfour Gardiner Light’s Glittering Morn by John E. West Old airs and glees by Joseph Baildon, Henry Lawes, Battista Martini, Thomas Augustine Arne, George Spencer-Churchill All People That on Earth Do Dwell [Ravenscroft’s Psalter, 1621, and J. S. Bach] The Gordian Knot Untied by Henry Purcell The Virtuous Wife by Henry Purcell The Married Beau by Henry Purcell Short communion service by William Byrd Incidental music for the Pageant of St. Martin-in-the-Fields Morley rounds by Holst’s students Joan Spink, Jane M. Joseph, Mabel Rodwell Jones, Wilfred Palmer, A.W. Cox, M.M. Harrison, Walter Gandy O Magnum Mysterium by William Byrd Fugue a la Gigue by J.S. Bach

Unknown

App. III, 14 App. III, 15 App. III, 16 App. III, 17 App. III, 18 App. III, 19 App. III, 20 App. III, 21 App. III, 22 App. III, 23

App. III, 24 App. III, 25

ca. 1912 ca. 1913 ca. 1913–16 ca. 1916–19 ca. 1916–18 ca. 1916–18 ca. 1916–18 1916 1921 ca. 1916–23

1927 1928

Alphabetical list of works Works are listed alphabetically with the thematic catalog number given in parenthesis. Works that are part of a larger work or an arrangement have the main work title or original composer’s name, respectively, in parentheses following the part title. When a work is known by more than one title, both have been included in the list. “Abroad As I Was Walking” (Folk Songs from Hampshire, H68) Adoramus te Christe (Lasso) (H App. III, 10) Advent Litany (H App. I, 6) Ah, Come Fair Mistress (H45) Ah Tyrant Love (H18) Air and Variations (H App. I, 32) Airly Beacon (H27) All Night I Waited by the Spring (H12) All People That on Earth Do Dwell (Bach) (H App. III, 17) Allegretto pastorale (H App. I, 9) Allegro (Fragment) (H App. II, 6) Allegro (Fragment) (H App. II, 9)

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Gustav Holst: a research and information guide

Andantino (Lemare) (H App. III, 6) “Angel Spirits of Sleep” (Seven Partsongs, H162) Anna-Marie (H App. I, 27) Arpeggio Study (H App. I, 17) “Assemble All Ye Maidens” (Seven Partsongs, H162) At the Boar’s Head (H156) Autumn Is Old, The (H1) Autumn Song (H35) “Autumn Song” (Five Partsongs, H48) Ave Maria (H49) Ave Maria, Maiden Mild (H App. I, 35) “Awake, Awake” (Twelve Welsh Folk Songs, H183) “Awake, my Heart” (Four Songs, H14) “Babe is Born, A” (Four Old English Carols, H82) Ballad of Hunting Knowe (H147) Ballade of Prince Eric, The (H19) “Battle Hymn” (Choral Hymns from the Rig Veda, 1st group, H97) “Bedlam City” (Folk Songs from Hampshire, H83) “Before Sleep” (Six Choruses, H186) “Beautiful Nancy” (Folk Songs from Hampshire, H83) Bells, The (H184) Benedictus (Byrd) (H App. III, 8) Beni Mora (H107) “Betelgeuse” (Twelve Songs, H174) “Between Us Now” (Six Songs, H68) Bhanavar’s Lament (H44) Bolero (H App. I, 24) Bossiney (H73) Bouree (Macfarren) (H App. III, 2) Bring Us in Good Ale (H131) Brook Green Suite (H190) Brookend (H161) “Calm Is the Morn” (Six Songs, H69) Capriccio [Jazz Band Piece] (H185) Children’s Suite (H App. II, 8) Choral Fantasia, A (H177) Choral Hymns from the Rig Veda (1st–4th groups, H97–H100) Chrissemas Day in the Morning (H165) Christ Hath a Garden (H167) Christmas Carol (H App. I, 7) Christmas Day (H109) “Christmas Song” (Three Carols, H133)

Biography

Clear and Cool (H30) Cloud Messenger, The (H111) Clouds o’er the Summer Sky (H40) “Come Away, Death” (Five Partsongs, H48) Come Live with Me (H189) “Come to Me” (Five Partsongs, H61) Coming of Christ, The (H170) “Corn Song, The” (Two Partsongs, H138) Cotswolds, The (H47) “Country Song” (Two Songs without Words, H88) “Cradle Song” (Six Songs, H69) Cranham (H73) “Creation” (Hymns from the Rig Veda, H90) Dances (H5) Dances from The Morning of the Year (H164) Darest Thou Now, O Soul (H72) “David’s Lament for Jonathan” (Eight Canons, H187) Day of the Lord, The (H29) Deux Pièces (H50) Dewy Roses (H63) Dirge and Hymneal (H124) Dirge for Two Veterans, A (H121) Diverus and Lazarus (H137) Double Concerto (H175) “Dove, The” (Twelve Welsh Folk Songs, H183) Draw Not Away Thy Hands (H37) Dream of Christmas, A (H139) “Dream Tryst” (Five Partsongs, H61) “Dream-City, The” (Twelve Songs, H174) Dream City, The (song cycle, arr. C. Matthews) (H174) Dreaming (Tours) (H App. III, 4) “Drinking Song” (Six Choruses, H186) Duet for Organ and Trombone (H App. I, 31) Duet: Herald and Tom (H App. II, 5) Duet in D Major (H6) Egdon Heath (H172) Eight Canons (H187) “Envoi” (Twelve Songs, H174) Epilogue (H174A) “Eternal Father” (Two Anthems, H169) “Evening on the Moselle” (Eight Canons, H187)

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Evening-Watch, The (H159) Exile of Erin, The (H App. I, 2) “Fain Would I Change That Note” (Six Songs, H68) “Faith” (Hymns from the Rig Veda, H90) Fantasia on Hampshire Folksongs (H135) Fantasiestücke (H8) Fathoms Deep beneath the Water (H App. I, 36) “Female Farmer, The” (Nine Folk Songs, H84) “Festival Chime, A” (Three Festival Choruses, H134) “Fields of Sorrow, The” (Eight Canons, H187) First Choral Symphony (H155) “First Love, The” (Twelve Welsh Folk Songs, H183) First String Quartet (H App. I, 30) First Suite in E۰(H105) Five Partsongs (H48) Five Partsongs (H61) “Floral Bandit, The” (Twelve Songs, H174) Folk Song Fragments (H166) Folk Songs from Hampshire (H83) Four Folk Songs (H App. II, 13) Four Hymns for Songs of Praise (H161) Four Old English Carols (H82) Four Partsongs (H110) Four sketches for unidentiﬁed stage works (H App. II, 11) Four Songs (H132) Four Songs (H14) “From Glory to Glory Advancing” (Three Hymns for the English Hymnal, H73) Fugal Concerto (H152) Fugal Overture, A (H151) Fugue a la Gigue (Bach) (H App. III, 25) “Funeral Chant” (Choral Hymns from the Rig Veda, 2nd group, H98) “Funeral Hymn” (Choral Hymns from the Rig Veda, 1st group, H97) Funeral March (H App. II, 3) Funeral March in G Minor (H App. I, 11) Gavotte (H190A) Glory of the West, The (H App. II, 14) Golden Goose, The (H163) “Good Friday” (Six Choruses, H186) Gordian Knot Untied, The (Purcell) (H App. III, 18) “Green Grass” (Twelve Welsh Folk Songs, H183) Greeting (H54)

Biography

Hammersmith (H178) “Happy Stranger, The” (Folk Songs from Hampshire, H83) Harper, The (H App. I, 1) Heart Worships, The (H95) Hecuba’s Lament (H115) Help Me, O Lord (Arne) (H App. III, 9) “Her Eyes the Glow-worm Lend Thee” (Five Partsongs, H61) Here Is Joy for Every Age (H142) “Holy Ghost, Come Down” (Three Hymns for the English Hymnal, H73) Home They Brought Her Warrior Dead (H81) Homecoming, The (H120) Horatius (H App. II, 1) How Merrily We Live (East) (H App. III, 7) “How Mighty Are the Sabbaths” (Six Choruses, H186) Hymn of Jesus, The (H140) “Hymn of the Travellers” (Choral Hymns from the Rig Veda, 3rd group, H99) “Hymn to Agni” (Choral Hymns from the Rig Veda, 4th group, H100) Hymn to Dionysus (H116) “Hymn to Indra” (Choral Hymns from the Rig Veda, 4th group, H100) “Hymn to Manas” (Choral Hymns from the Rig Veda, 4th group, H100) “Hymn to Soma” (Choral Hymns from the Rig Veda, 4th group, H100) “Hymn to the Dawn” (Choral Hymns from the Rig Veda, 3rd group, H99) “Hymn to the Waters” (Choral Hymns from the Rig Veda, 3rd group, H99) “Hymn to Vena” (Choral Hymns from the Rig Veda, 3rd group, H99) Hymns from the Rig Veda (H90) I Come from Haunts of Coot and Hern (H App. I, 18) “I Love My Love” (Six Choral Folk Songs, H136) I Love Thee (H57) “I Saw Three Ships” (Three Carols, H133) I Scanned Her Picture (H38) “I Sing of a Maiden” (Four Songs, H132) “I Sowed the Seeds of Love” (Six Choral Folk Songs, H136) I Vow to Thee, My Country (H148) “I Will Not Let Thee Go” (Six Songs, H68) Ianthe (H App. I, 42) Idea, The (H21) “If ‘Twere the Time of Lilies” (Eight Canons, H187) “If You Love Songs” (Eight Canons, H187) “I’ll Love My Love” (Nine Folk Songs, H84) “In a Wood” (Six Songs, H68) In Loyal Bonds United (H113) “In the Bleak Midwinter” (Three Hymns for the English Hymnal, H73) “In the Street of Lost Time” (Twelve Songs, H174)

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Gustav Holst: a research and information guide

In Youth Is Pleasure (H76) Incidental Music for the Pageant of St. Martin-in-the-Fields (H App. III, 22) Incidental Music to a London Pageant (H114) Incidental Music to the Stepney Children’s Pageant (H102) Indra (H66) “Indra” (Hymns from the Rig Veda, H90) “Intercession” (Six Choruses, H186) Intermezzo (H App. I, 12) Introduction and Bolero (H App. I, 23) Invocation (H75) “Invocation to the Dawn” (Six Songs, H68) “Irish Girl, The” (Folk Songs from Hampshire, H83) It Was a Lover and His Lass (H59) Japanese Suite (H126) Jazz-Band Piece (H185) “Jesu Sweet, Now Will I Sing” (Four Songs, H132) “Jesu, Thou the Virgin-Born” (Four Old English Carols, H82) “Jig” (Two Pieces for Piano, H179) “John Barleycorn” (Folk Songs from Hampshire, H83) “Journey’s End” (Twelve Songs, H174) “Jupiter” (Planets, The, H125) King Estmere (H70) Kiss, The (H16) Lake and a Fairy Boat, A (H App. I, 25) Lake and a Fairy Boat, A [second setting] (H25) Ländler (H53) Lansdown Castle or The Sorcerer of Tewkesbury (H App. I, 21) “Let All Mortal Flesh” (Three Festival Choruses, H134) Lied ohne Worte (H51) Light Leaves Whisper (H20) Light’s Glittering Morn (West) (H App. III, 15) “Lisa Lan” (Twelve Welsh Folk Songs, H183) Listening Angels, The (H App. I, 5) “Little Music, A” (Twelve Songs, H174) “Lively Pair, The” (Twelve Welsh Folk Songs, H183) “Lord Dunwaters” (Folk Songs from Hampshire, H83) “Love Is Enough” (Five Partsongs, H48) “Love on My Heart from Heaven Fell” (Seven Partsongs, H162) “Love Song, A” (Five Partsongs, H48) “Love Song, A” (Six Choruses, H186)

Biography

Love Wakes and Weeps (H App. I, 41) “Lovely Kind and Kindly Loving” (Six Songs, H69) “Lovely Venus” (Eight Canons, H187) “Lover’s Complaint, The” (Twelve Welsh Folk Songs, H183) Lullay My Liking (H129) Lure, The (H149) Lyric Movement (H191) Magic Mirror, The (H App. II, 12) “Man Born to Toil” (Two Anthems, H169) March (Tours) (H App. III, 3) March in C Major (H App. I, 8) “Marching Song” (Two Songs without Words, H88) Margrete’s Cradle-Song (Four Songs, H14) Married Beau, The (Purcell) (H App. III, 20) “Mars” (Planets, The, H125) “Maruts” (Hymns from the Rig Veda, H90) “Masters in this Hall” (Three Carols, H133) “Matthew, Mark, Luke and John” (Six Choral Folk Songs, H136) May Day Carol (H41) Maya (H55) “Mercury” (Planets, The, H125) Minuet d’amour (Cowen) (H App. III, 5) Monk Street (H161) “Moorﬁelds” (Nine Folk Songs, H84) Moorside Suite, A (H173) Morley Rounds by Holst’s students (Spink, et al.) (H App. III, 23) Morning of the Year, The (H164) Morris Dance Tunes (Sharp) (H App. III, 12) “Mother-in-Law, The” (Twelve Welsh Folk Songs, H183) My Joy (H36) “My Leman Is So True” (Four Songs, H132) “My Soul Has Nought but Fire and Ice” (Four Songs, H132) “My Sweetheart’s Like Venus” (Twelve Welsh Folk Songs, H183) “My True Love Hath My Heart” (Six Songs, H69) Mystic Trumpeter, The (H71) Nabou or Kings in Babylon (H94) “Neptune” (Planets, The, H125) “New Mown Hay, The” (Folk Songs from Hampshire, H83) New Year Chorus (H App. I, 16) News from Whydah (Gardiner) (H App. III, 14) “Nightingale and Linnet, The” (Twelve Welsh Folk Songs, H183) Nine Folk Songs (H84)

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“Nocturne” (Two Pieces for Piano, H179) Not a Sound but Echoing in Me (H32) Not unto Us, O Lord (H22) “Now in These Fairylands” (Twelve Songs, H174) “Now is the Month of Maying” (Five Partsongs, H61) “Now Let Us Sing” (Four Old English Carols, H82) Now Rest Thee from All Care (H78) Now Sleep and Take Thy Rest (H77) “Now Sleeps the Crimson Petal” (Songs from The Princess, H80) Now Winter’s Winds Are Banished (H App. I, 37) Nunc dimittis (H127) O England My Country (H103) “O I Hae Seen the Roses Blaw” (Folk Song Fragments, H166) O Lady, Leave That Silken Thread (H4) “O Love, I Complain” (Seven Partsongs, H162) O Magnum Mysterium (Byrd) (H App. III, 24) O Spiritual Pilgrim (H188) O Spring’s Little Children (H24) “O Strong of Heart” (Eight Canons, H187) “O Swallow, Swallow” (Songs from The Princess, H80) “O ‘Twas on a Monday Morning” (Twelve Welsh Folk Songs, H183) Ode to Death (H144) Ode to the North East Wind (H App. I, 20) Of One That Is so Fair (H130) Old Airs and Glees (Baildon, et al.) (H App. III, 16) Opera As She Is Wrote (H App. II, 15) Örnulf’s Drapa (H34) “Our Ship She Lies in Harbour” (Folk Songs from Hampshire, H83) Pan’s Anniversary (Vaughan Williams) (H App. III, 1) Pastoral (H92) “Peace” (Six Songs, H69) Perfect Fool, The (H150) “Persephone” (Twelve Songs, H174) Phantastes (H108) Phantasy (H135) Philip the King (H122) Piece for Yvonne (H154) Planets, The (H125) Postlude in C (H App. I, 10) Prayer for Light, A (H62) “Prelude” (Hammersmith, H178) Prince Rupert (H161)

Biography

Psalm 148 (H117) Psalm 86 (H117) Quintet in a minor (H11) Ratri (H90A) Revoke, The (H7) “Rhyme” (Twelve Songs, H174) Roadways (H181) Sacred Rounds and Canons (Boyce, et al.) (H App. III, 13) Sailors’ Chorus (H App. II, 4) Sanctus (H App. I, 15) “Saturn” (Planets, The, H125) “Saviour of the World, The” (Four Old English Carols, H82) Sāvitri (H96) “Say Who Is This?” (Seven Partsongs, H162) Scherzo (Fragment) (H App. II, 7) Scherzo (H App. I, 13) Scherzo (H192) “Scherzo” (Hammersmith, H178) “Scolding Wife, The” (Folk Songs from Hampshire, H83) Second Choral Symphony (H App. II, 16) Second Suite in F (H106) “Seeds of Love, The” (Nine Folk Songs, H84) “Sergeant’s Song, The” (Six Songs, H68) Seven Choruses from Alcestis (H146) Seven Folk Songs (H85) Seven Partsongs (H162) Seven Scottish Airs (H93) Sextet in E Minor (H10) She Who Is Dear to Me (H46) Sheen (H73) “Shoemaker, The” (Folk Song Fragments, H166) Short Communion Service (Byrd) (H App. III, 21) Short Festival Te Deum (H145) Short Trio in E Major (H App. I, 33) Sing Heigh-Ho! (H App. I, 19) Sing Heigh-Ho! [second setting] (H26) “Sing Ivy” (Folk Songs from Hampshire, H83) Sing Me the Men (H160) Sita (H89) Six Choral Folk Songs (H136)

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Six Choruses (H186) Six Songs (H68) Six Songs (H69) “Slumber-Song” (Four Songs, H14) Sneezing Charm, The (H143) “Soft and Gently” (Four Songs, H14) Somerset Rhapsody, A (H87) Song of Fairies, A (H104) Song of London, A (H102A) Song of Solomon, The (H App. II, 17) “Song of the Blacksmith, The” (Six Choral Folk Songs, H136) “Song of the Drovers” (Four Partsongs, H110) “Song of the Fishermen” (Four Partsongs, H110) “Song of the Frogs” (Hymns from the Rig Veda, H90) “Song of the Lumbermen” (Two Partsongs, H138) Song of the Night, A (H74) “Song of the Ship-Builders” (Four Partsongs, H110) “Song of the Shoemakers” (Four Partsongs, H110) Song of the Valkyrs (H App. I, 22) Song of the Woods (H64) Song to the Sleeping Lady (H17) Songs from The Princess (H80) Songs of the West (H86) “Sorrow and Joy” (Seven Partsongs, H162) “Sovay” (Nine Folk Songs, H84) “Splendour Falls, The” (Songs from The Princess, H80) “Spring” (Two Eastern Pictures, H112) Spring It Is Cheery (H3) Spring Song, A (H52) Spröde, Die (The Coquette) (H App. I, 3) “Squire and the Thresher, The” (Folk Songs from Hampshire, H83) St. Paul’s Suite (H118) Stars Are with the Voyager, The (H2) Strain Upraise, The (H App. I, 4) “Stu mo run” (Nine Folk Songs, H84) String Trio in G Minor (H App. 1, 34) Suite de Ballet (H43) Suite in G minor (H41) “Summer” (Two Eastern Pictures, H112) Summer’s Welcome (H App. I, 39) Swallow Leaves Her Nest, The (H119) “Swansea Town” (Six Choral Folk Songs, H136) “Sweet and Low” (Songs from the Princess, H80)

Biography

Symphony in F “The Cotswolds” (H47) Symphony in C Minor (H App. I, 14) “Tears, Idle Tears” (Songs from the Princess, H80) “Terly Terlow” (Two Carols, H91) Terzetto (H158) Theme and Variations (H App. I, 29) There Is Dew for the Flow’ret (H App. I, 38) There Sits a Bird on Yonder Tree (H App. I, 26) “There Was a Tree” (Six Choral Folk Songs, H136) There’s a Voice in the Wind (H15) “Things Lovelier” (Twelve Songs, H174) This Have I Done for My True Love (H128) “Thorneyﬁeld Woods” (Nine Folk Songs, H84) Thou Didst Delight My Eyes (H58) “Thought, The” (Twelve Songs, H174) Three Carols (H133) Three Festival Choruses (H134) Three Folk Tunes (H106A) Three Hymns for the English Hymnal (H73) Three Pieces (H8A) Three Short Partsongs (H13) To a Wild Rose (H65) “To Agni” (Choral Hymns from the Rig Veda, 2nd group, H98) To Hope (H79) “To Sylvia” (Five Partsongs, H48) “To the Unknown God” (Choral Hymns from the Rig Veda, 1st group, H97) “To Varuna” (Choral Hymns from the Rig Veda, 2nd group, H98) Toccata (H153) “Truth of All Truth” (Eight Canons, H187) “Turn Back O Man” (Three Festival Choruses, H134) Twelve Songs (H174) Twelve Welsh Folk Songs (H183) Twin Stars Aloft (H28) Two Anthems (H169) Two Brown Eyes (H39) Two Carols (H91) Two Chants (H180) Two Dances from Ianthe (H App. I, 42A) Two Duets from King Arthur (Purcell) (H App. III, 11) Two Eastern Pictures (H112) Two Orchestral Pieces (H App. II, 10) Two Partsongs (H138)

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Two Pieces for Piano (H179) Two Psalms (H117) Two Songs without Words (H88) Unﬁnished symphony fragments (H App. II, 18) “Uranus” (Planets, The, H125) “Ushas” (Hymns from the Rig Veda, H90) “Vac” (Hymns from the Rig Veda, H90) Valiant Hearts (H161) Valse-Etude (H56) Variations (H9) “Varuna I” (Hymns from the Rig Veda, H90) “Varuna II” (Hymns from the Rig Veda, H90) “Venus” (The Planets, H125) Vigil of Pentecost, A (H123) Virtuous Wife, The (Purcell) (H App. III, 19) Vision of Dame Christian, The (H101) Walt Whitman (H42) Wandering Scholar, The (H176) Wassail Song (H182) Wedding March (H App. II, 2) “Weep You No More” (Six Songs, H69) “Welcome Song, A” (Two Carols, H91) “When We First Met” (Seven Partsongs, H162) Whether We Die or We Live (H33) White Lady’s Farewell, The (H App. I, 28) “White Summer Rose” (Twelve Welsh Folk Songs, H183) “Willow Tree, The” (Folk Songs from Hampshire, H83) Wind Quintet (H67) Winter and the Birds (H App. I, 40) Winter Idyll, A (H31) “Ye Little Birds” (Five Partsongs, H61) “Yonder Sits a Fair Young Damsel” (Folk Songs from Hampshire, H83) “Young Edwin in the Lowlands Low” (Folk Songs from Hampshire, H83) “Young Reilly” (Folk Songs from Hampshire, H83) Youth’s Choice, The (H60) NOTE 1 Imogen Holst, A Thematic Catalogue of Gustav Holst’s Music, (London: Faber Music; G. and I. Holst Ltd., 1974) p. ix.

II Bibliography

SOURCE MATERIALS Holst’s writings Articles 1. Holst, Gustav. “A British School of Composers.” Musical Herald, no. 810 (September 1915): 401. One of a series of articles by English composers. 2. Holst, Gustav. “The Education of a Composer .” The Beacon 1, no. 1 (October 1921): 30–36. Holst gives his opinions on musical tradition and the twentieth-century composer; he gave variations of this lecture throughout the 1920s. 3. Holst, Gustav. “Letter from the East: To the Morley Students.” Morley College Magazine 28, no. 6 (March 1919): 79–80. Holst writes to his students at Morley College from his YMCA service in Salonica. 4. Holst, Gustav. “A Memory of Parry As a Lecturer.” Music Student 11, no. 3 (November 1918): 86. Relates memories of Sir Hubert Parry at the Royal College of Music. 5. Holst, Gustav. “Music in the British Salonica Forces.” Musical Opinion 43, no. 505 (October 1919): 37. 35

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Three “impressions” typical of Holst’s experience as a musical organizer for the YMCA in Salonica and Constantinople: “A Morning Rehearsal in Summerhill,” “A Thursday Afternoon in Constantinople,” and “An Evening at the Y.M.C.A. Hut, G.H.Q., Salonica.” 6. Holst, Gustav. “My Favourite Tudor Composer.” Midland Musician 1, no. 1 (January 4, 1926): 4–5. Reprinted in Heirs and Rebels: Letters Written to Each Other and Occasional W ritings on Music , edited by Ursula Vaughan Williams and Imogen Holst, chapter 4. London: Oxford University Press, 1959. ML410.V3 A4. A discussion of the signiﬁcance of Thomas Weelkes. 7. Holst, Gustav. “The Mystic, the Philistine and the Artist.” The Quest 11, no. 3 (April 1920): 366–379. Reprinted in Gustav Holst: A Biography, 2nd ed., pp. 194–204. Holst shares his opinion on the place of the artist in society. 8. Holst, Gustav. “On Appreciation.” British Music Bulletin 3, no. 2 (February 1921): 30–31. Holst outlines his views on music appreciation. He prefers to concentrate energies on teaching people what is good in music, then leaving them to draw their own conclusions. 9. Holst, Gustav. “Opinions (on Inspiration).” (January–February 1928): 114.

Chesterian 9, no. 68

Includes a letter from Holst in response to a questionnaire sent to composers. Imogen Holst notes in her thematic catalog that the letter was printed without Holst’s permission, and apparently he was quite indignant about it (p. 257). 10. Holst, Gustav. “The Younger English Composers: 18, Jane M. Joseph 1894–1929.” Monthly Musical Record 61, no. 724 (April 1931): 97–98. Originally published: Morley College Magazine , 34, no. 9 (June 1929): 104–105. An expanded proﬁle (from the Morley College Magazine) of Holst’s student Jane Joseph, whom Holst described as “the best girl pupil I ever had.” Published lectures 11. “England and Her Music.” In Heirs and Rebels: Letters Written to Each Other and Occasional W ritings on Music , edited by Ursula Vaughan Williams and Imogen Holst, pp. 49–52. London: Oxford University Press, 1959. ML410.V3 A4. Notes for a lecture.

Bibliography

37

12. “Haydn (1932).” In Heirs and Rebels: Letters W ritten to Each Other and Occasional Writings on Music, edited by Ursula Vaughan Williams and Imogen Holst, pp. 86–89. London: Oxford University Press, 1959. ML410.V3A4. A shortened version of a lecture given at Harvard University. 13. “Henry Purcell: The Dramatic Composer of England (1658–1695).” In The Heritage of Music , edited by Hubert Foss, vol. 1, pp. 144–150. Oxford: Oxford University Press, 1927. ML 390.F27. Based on a lecture given by Holst. 14. “Samuel Wesley.” In Heirs and Rebels: Letters W ritten to Each Other and Occasional Writings on Music , edited by Ursula Vaughan Williams and Imogen Holst, pp. 55–57. London: Oxford University Press, 1959. ML410.V3 A4. An excerpt from a 1927 lecture. 15. “The Teaching of Art (1929).” In Heirs and Rebels: Letters W ritten to Each Other and Occasional Writings on Music, edited by Ursula Vaughan Williams and Imogen Holst, pp. 66–75. London: Oxford University Press, 1959. ML410.V3 A4. Text of a lecture given at Yale University, April 1929. 16. “The Tercentenary of Byrd and Weelkes.” Proceedings of the Musical Association 49 (1922): 29–37. A transcript of the lecture given by Holst to the Association, January 9, 1923. Includes a summary of the post-lecture discussion and a list of musical examples performed by the Morley College Choir. Miscellaneous writings 17. “Musical Copyright: Composers and the Bill, theTwo-Penny Fee.” Times (London), no. 45387 (December 16, 1929). This letter to the editor regarding the new Musical Copyright Bill was signed by Holst and several other composers (Granville Bantock, Arnold Bax, Frederick Delius, Edward German, John McEwen, and Ralph Vaughan Williams). 18. “The Philharmonic Choir.” Times (London), no. 45818 (May 9, 1931). Letter to the editor requesting ﬁnancial assistance for the Philharmonic Choir signed by Holst and other notable names. 19. Haskell, Arnold L. Penelope Spencer and Other Studies . The Artists of the Dance. London: British-Continental Press, 1930. 39 p. GV1785.A1. Foreword written by Holst.

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20. Holst, Gustav. “De l’Inspiration Musicale.” Le Monde Musical (July 1928) Not available for examination. The entry in Kenneth Thompson’s A Dictionary of T wentieth Century Composers (see no. 1 10) cites “contributions” by Holst to this article. 21. Holst, Gustav. “Indian Myth: The Ocean of Story, a Review of C. H.Tawney’s Translation from the Sanskrit.” (1928) Not available for examination. Listed in the thematic catalog compiled by Imogen Holst, it is described as being preserved in the scrapbook of press cuttings in the Holst Birthplace Museum but without the name of the newspaper (p. 257). Correspondence Published compilations 22. Holst, Gustav. Letters to W. G. Whittaker, edited by Michael Short. Glasgow: University of Glasgow Press, 1974. xv , 138 p. ISBN 0852611064. ML 410.H748 A3. A collection of letters (spanning nearly twenty years) written by Holst to his friend, composer, and professor of music, W. G. (William Gillies) Whittaker. Although many of the letters deal with mundane matters, as a whole the correspondence provides an interesting glimpse of Holst’ s personality. A selection of extant letters from Whittaker to Holst is contained in an appendix. The editor’s note clearly lays out editorial additions (necessary because most of the letters were hastily written and often lacked dates, places, etc.). An introduction is provided by Imogen Holst. A list of Holst’s main addresses that he wrote from and index round out the volume. 23. Vaughan Williams, Ralph. Heirs and Rebels: Letters W ritten to Each Other and Occasional W ritings on Music , edited by Ursula Vaughan Williams and Imogen Holst. London: Oxford University Press, 1959. 111 p. ML 410.V3 A4 1959. A collection of correspondence between the friends and colleagues. Several of Holst’s writings are reprinted here: his lectures “Haydn” and “The Teaching of Art,” notes for lectures “England and Her Music,” “My Favourite Tudor Composer,” “Samuel Wesley,” and “Musical Education.” 24. Vaughan Williams, Ralph. Letters of Ralph Vaughan Williams 1895–1958, edited by Hugh Cobbe. Oxford: Oxford University Press, 2008. xx, 679 p. ISBN 0199257973. ML 410.V3 A4 2008.

Bibliography

39

This collection of Vaughan Williams’s correspondence contains 750letters (selected from ca. 3,000 extant letters), arranged chronologically. There are twenty-seven letters to Holst in the selection, and many references to him in other letters, and in the general commentary. Published selected letters 25. “Gustav Holst 1874–1934.” In Composers’ Letters, edited by Jan Fielden, pp. 150–151. London: Mar ginalia, 1994. ISBN 1874572755. ML 90.C65 1994. This collection of correspondence contains two letters by Holst, both written around the time of World War I. The ﬁrst letter was sent to critic Edwin Evans shortly before leaving for YMCA work in Salonica, while the second letter was sent to his students at Morley College after Holst reporting conditions in Salonica. 26. “Holst.” In The Musician’s World: Great Composers in Their Letters , edited by Hans Gál, pp. 418–429. NewYork: Arco Publishing, 1965. Also published: London: Thames and Hudson, 1965. ML 90.G34. Reprints seventeen letters, chieﬂy correspondence between Holst and his wife, Isobel, Vaughan Williams, and W. G. Whittaker. Also includes a photograph of Holst at age ﬁfty-nine. 27. Foreman, Lewis. From Parry to Britten: British Music in Letters, 1900–1945. Portland, OR: Amadeus, 1987. xviii, 332 p. ISBN 0931340039. Also published: London: Batsford, 1987. ISBN 0713455209. ML286.5.F67 1987. This chronological anthology of composer correspondence includes six letters from Holst to various correspondents: the Musical Herald, music critic Edwin Evans, Holst’ s students at Morley College, and conductor Adrian Boult. Includes a pencil sketch of Holst (uncredited). Source list and location of original manuscript is given. Collections of letters (by correspondent) Edwin Evans 28. City of Westminster Archives Center. http://www.westminster.gov.uk/ services/libraries/archives/ (accessed June 5, 2010). Collection of correspondence and manuscripts. Fritz Hart 29. National Library of Australia. http://www.nla.gov.au/ms/ﬁndaids/2809. html (accessed June 5, 2010).

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Gustav Holst: a research and information guide

The collection includes correspondence with Holst, 1922–1934 and photographs. Ralph Vaughan Williams 30. British Library. http://www.bl.uk/catalogues/manuscripts/HITS0001. ASP?VPath=arevhtml/54470.htm&Search=57953&Highlight=F (accessed June 5, 2010). Many of these letters are published inHeirs and Rebels (1959). (See no. 23) W. G. Whittaker 31. “Manuscripts from the Personal Library of William Gilles Whittaker, 1876–1944, Composer.” Glasgow University Library Special Collections Department. http://special.lib.gla.ac.uk/collection/whittaker.html (accessed June 5, 2010). The collection contains 224 letters from Holst to Whittaker, miscellaneous other correspondence, a portrait, and a manuscript copy of Hymns from the Rig Veda. A ﬁnding aid for the collection is available. 32. “Gustav Holst: Letters to W. G. Whittaker.” Glasgow University Library Special Collections Department. http://special.lib.gla.ac.uk/exhibns/ month/sep2004.html (accessed June 5, 2010). The exhibition to mark the seventieth anniversary of Holst’ s death featured correspondence from the Library’s collections. Includes facsimiles of several letters, portraits of Holst and Whittaker, and bibliography. The exhibition was featured as the September “Book of the Month” feature. Miscellaneous letters in collections 33. “Hermits and Holidays.” Royal Northern College of Music. http://www. rncm.ac.uk/content/view/487/151/ (accessed June 5, 2010). The online exhibit includes commentary and a facsimile of a letter from Holst declining a summer invitation in 1926. The exhibit served as “Archive of the Month” for September 2008. 34. “Letters, 1907 and 1932.” Northwestern University Music Library General Manuscript Collection. http://digital.library.northwestern.edu/music/ gmc/ltr0H6al.jpg (accessed June 5, 2010). The link leads to a digital image of a portion of one of the ﬁve letters in the collection.

Bibliography

35. “Letters from Gustav Holst.” Royal Northern College of Music. www.rncm-archive.rncm.ac.uk (accessed June 5, 2010).

41

http://

A collection of ﬁve letters from Holst to a Mrs. Cohen, 1925–1926. According to the collection description, “The Cohens had apparently hosted Holst during the 1925 Leeds Triennial Festival” and had extended an invitation for a Lake District holiday. 36. “The Mary Flagler Cary Music Collection.” Pierpont Mor gan Library. http://www.themorgan.org/home.asp (accessed June 5, 2010). The collection includes nine autograph letters between Holst and Mr. Henry Harkness Flagler concerning the commissioning, writing, and performance of Egdon Heath. 37. “Sir William Rothenstein Correspondence and Other Papers (MS Eng 1148). Houghton Library , Harvard College Library , Harvard University. nrs.harvard.edu/urn-3:FHCL.Hough:hou00491 (accessed June 5, 2010). The collection includes eight letters, 1922 and undated. Diaries 38. Holst, Imogen. A Scrap-Book for the Holst Birthplace Museum . East Bergholt, Suffolk: Holst Birthplace Museum Trust in Association with G. & I. Holst, 1978. 48 p. ISBN 0906290007. ML 410.H748. Intersperses Holst’s diary entries with contemporary photographs and other document images from the Holst Birthplace Museum collections. Collected edition 39. Holst, Gustav. Collected Facsimile Edition of Autograph Manuscripts of the Published W orks, edited by Imogen Holst and Colin Matthews. 4 vols. London: Faber Music in association with G. & I. Holst, 1974. ISBN 0571100066. ML 96.4.H64. Each of the four volumes includes a facsimile of the manuscript accompanied by an introductory essay . The volume for The Planets includes several additional sections: a list of the available printed editions, a list of patches applied to the manuscript, details of the various handwritings in the manuscript, etc.

42

Gustav Holst: a research and information guide

Contents of Collected Facsimile Edition Volume no.

Title

Editor

Date

ISBN

1

Imogen Holst

1974

0571100066

Imogen Holst; Colin Matthews, assistant ed.

1977

0571100082

3

Chamber Operas 1. Savitri 2. The Wandering Scholar Works for Small Orchestra 1. St. Paul’s Suite 2. A Fugal Concerto 3. Double Concerto 4. Brook Green Suite 5. Lyric Movement The Planets

1979

0571100260

4

First Choral Symphony

Imogen Holst, Colin Matthews Imogen Holst, Colin Matthews

1983

0571100449

2

CATALOGS 40. Hanson-Dyer, Louise. Gustav Holst. Music by British Composers: A Series of Complete Catalogues. London: Oxford University Press, 1931. 11 p. ML 134.H756 D99. A classiﬁed list of Holst’s published works (to March 1931) accompanied by a photograph of Holst by Herbert Lambert. 41. Holst, Imogen. A Thematic Catalogue of Gustav Holst’s Music. London: Faber Music; G. and I. Holst Ltd., 1974. xxviii; 285 p. ISBN 0571 10004X. ML 134.H75 A2 1974. The thematic catalog covers all of Holst’ s works, 1895–1934. Works composed before 1895, incomplete works and fragments, edited works, sketch-book descriptions, and a list of Holst’s published lectures and articles are located in appendices. The introductory essay is especially useful as it contains information about Holst’ s family origins and manuscripts. Miss Holst has provided commentary for each entry in the catalog that gives background information and occasionally untangles conﬂicting extant information about a work. All in all, this is an indispensable work for the researcher. 42. Lumby, Sheila and Vera Hounsﬁeld. Catalogue of Holst’s Programmes and Press Cuttings in the Central Library , Cheltenham. Cheltenham: G. & I. Holst, 1974. ix, 141 p. ISBN 0902679031. ML134.H75 C3 1974.

Bibliography

43

The introduction (written by Imogen Holst) describes the eighteen volumes of scrapbooks kept by her father and various assistants, now held at the Central Library in Cheltenham. The catalog is divided into sections covering Holst’s music and arrangements, his life and work, and other members of the Holst family. A single index covers persons, places, institutions, and societies. 43. Short, Michael. Gustav Holst, 1874–1934: A Centenary Documentation. London: White Lion Publishers, 1974. iv , 285 p. ISBN 0728500000. ML134.H75 S5 1974. As the author notes in his preface, this volume serves as a complement to the thematic catalog compiled by Imogen Holst. The majority of Short’s work is devoted to a detailed list of Holst’ s musical compositions, including discographical information where appropriate. The remainder of the volume contains a selective, chronological list of letters written by Holst, an annotated bibliography (287 entries) of English-language resources, a description of iconographical sources, and brief notes on people and organizations connected to Holst. The volume contains only a name index. 44. Taylor, Kenric. “The Gustav Holst info/ (accessed June 5, 2010).

Website.” http://www.gustavholst.

A comprehensive website for information on Gustav Holst. The site features an extensive biographical sketch (“created from the lecture notes … of Ian Lace”), bibliography, discography, classiﬁed list of works, and a list of links to other web resources.The latest iteration of the website includes a link to Facebook news related to Holst. Dissertations and theses 45. Short, Michael. “Gustav Holst (1874–1934):A Centenary Documentation.” Fellowship, Library Association, 1974. 354 leaves. Served as the basis of his book by the same title (see no. 43). COLLECTIONS Archives and special collections Holst Museum and Holst Foundation 46. “Holst Birthplace Museum.” http://www.holstmuseum.org.uk/ (accessed June 5, 2010).

44

Gustav Holst: a research and information guide

The Holst Birthplace Museum was founded in 1974 by Imogen Holst. In addition to Holst’s life and works, the museum covers Victorian social history. The website for the museum provides a great wealth of infor mation: a biographical sketch, a gallery of photos (including a photo of Holst’s music room), news and events, and links to external resources. The museum has an educational component for schools and youth and sponsors various concerts, lectures, and exhibitions. 47. “The Holst Archive.” http://www.holstfoundation.org/index.php?pr= The_Holst_Archive (accessed June 5, 2010). Provides information on the Archive, which primarily consists of papers and manuscripts of Imogen Holst.A photograph of Imogen’s desk accompanies the webpage. The Archive was donated by the Holst Foundation to the Britten-Pears Foundation in 2007. 48. “Holst Archive.” Britten-Pears Foundation. http://www.brittenpears. org/?page=research/archive/special/holst.html (accessed June 5, 2010). The collection consists of papers and musical manuscripts of Imogen Holst, as well as papers from the Holst Foundation and the G & I Holst Estate. According to the collection description, there are “extensive ﬁles concerning events held to celebrate the Holst centenary in 1974” and a series of ﬁles containing Imogen’s working materials from the compilation of the thematic catalog. Other holdings regarding Gustav include autograph manuscripts, correspondence, lecture notes, engagement diaries and notebooks, 1912–1934. 49. “The Holst Foundation.” http://www.holstfoundation.org/ (accessed June 5, 2010). Ofﬁcial website of the Holst Foundation. The Foundation primarily gives grants toward the performance of music by living composers. Manuscripts 50. Bodleian Library. http://www.bodleian.ox.ac.uk/bodley/library/special collections/western_rarebooks/music (accessed June 15, 2010). The Bodleian Library holds manuscripts for Savitri, The Planets (autograph and non-autograph), and the Choral Fantasia (vocal score). 51. British Library. http://www.bl.uk/catalogues/manuscripts (accessed June 5, 2010). In addition to the Holst collection, the Library also hold the papers and correspondence of Adrian Boult and Ralph Vaughan Williams.

Bibliography

45

52. Harvard University. http://hcl.harvard.edu/libraries/#houghton (accessed June 5, 2010). Several of the special collections contain Holst materials, primarily correspondence. 53. Royal Academy of Music. http://www.ram.ac.uk/facilitiesandcollections/ Collections/Pages/Apollo%20and%20Collections.aspx (accessed June 5, 2010). The collection includes several Holst items, including letters, programs, and press cuttings. The online gallery of images also includes some covers of sheet music by Holst’s great-grandfather, Matthias. 54. Royal College of Music. http://www.rcm.ac.uk/Research+and+ Collections/ Collections (accessed June 5, 2010). The Gustav Holst collection includes correspondence, autograph and copyists’ manuscripts; other collections include the papers of Holst’ s colleague Vally Lasker. 55. State Library of Victoria. http://www.slv.vic.gov.au/ (accessed June 5, 2010). The Gustav Holst Collection, founded by Holst patron Louise HansonDyer, consists of seventy-six Holst scores. The items in the collection are cataloged, with records accessible in the Library’ s online catalog. There are no electronic images available. To retrieve a list of collection items, seach the phrase “Gustav Holst Collection.” 56. University of Bristol. http://www.bristol.ac.uk/is/library/collections/ specialcollections/archives/ (accessed June 5, 2010). The Philip Napier Miles collection contains signed copies of works by Holst. 57. University of Michigan. http://www.lib.umich.edu/special-collectionslibrary (accessed June 5, 2010). Several of the Library’ s collections include items related to Holst: the “Music and Musicians Collection,” the Frederick Stock papers, the Edwin Franko Goldman autograph collection, and the Charles A. Sink autographed photograph collection. 58. Yale University. http://www.library.yale.edu/beinecke/blgosb.htm (accessed June 5, 2010). The Osborn Collection contains music manuscripts by Holst. Articles 59. Gibbs, Alan. “New Light on Holst and Friends: Manuscript Discoveries at St Paul’s Girls’ School.” Tempo 60, no. 237 (July 2006): 44–58.

46

Gustav Holst: a research and information guide

The essay reports on newly discovered materials from the archives of the St. Paul’s Girls’ School, focusing on the St. Paul’s Suite, “Ode on a Grecian Urn” (from the First Choral Symphony ) and the masque The Vision of Dame Christian . Other minor Holst manuscripts plus some of Imogen Holst and student Jane M. Joseph are discussed. Includes musical examples and reproduction of a photograph of Holst conducting the St. Paul’s Girls’ School orchestra, ca. 1923. 60. Holst, Imogen. “Gustav Holst’ s Manuscripts.” Brio 4, no. 2 (autumn 1967): 2–4; Composer no. 27 (spring 1968): 11–14. Offers a glimpse into the problems encountered while cataloging her father’s manuscripts. Gustav didn’ t include many of his early compositions in his list of compositions, but kept them in bundles labeled “Early Horrors.” She also reveals problems involved in tracing missing autographs of scores published by Curwen and manuscripts given away to friends. Another problem involved deciphering whose handwriting is whose in the group of “partly autograph” scores; Holst frequently had to have help writing due to his neuritis. The text of this article is based on a paper read to the UK Branch of the International Association of Music Libraries, February 10, 1966. 61. Holst, Imogen. “Holst’s Music: Some Questions of Style and Performance at the Centenary of His Birth.” Proceedings of the Royal Musical Association 100 (1973): 201–207. Discusses interpretation of Holst’ s handwritten instructions, rhythmic patterns, and tempi in a comparison of printed scores with available manuscript sources. Miss Holst also gives a rundown of the disposition of the manuscripts of the major works. 62. Kaleva, Daniela. “The Gustav Holst and British Music Society of Victoria Collections at the State Library of Victoria.” Fontes Artis Musicae 55, no. 1 (2008): 170–179. Describes the Gustav Holst and British Music Society Collections, started by early music specialist Louise Hanson-Dyer in Melbourne, Australia. The collections were acquired by the State Library of Victoria in the 1980s and purchased in 1999. The British Music Society of Victoria Collection, envisioned to be the lar gest collection of British music in the Southern Hemisphere, contains more than twenty scores of Holst works. These works are mainly chamber works. The Holst collection, made available to the public in 2006, contains seventy-six items. The bulk of the collection is published scores, with fourteen manuscripts in the hand of music copyists (particularly valuable since some of these represent the only extant copies of the works). The majority of the works are choral and orchestral. Hanson-Dyer, a patron of Holst, compiled a catalog of his works, which serves as the primary ﬁnding aid to the collection.

Bibliography

63. Rubbra, Edmund. “The Early Manuscripts of Gustav Holst.” Musical Record 65, no. 768 (July–August 1935): 123–124.

47

Monthly

Studies manuscripts of his early works ( Sita, The Cotswolds, Songs of the West, The Mystic T rumpeter) for clues to the origins of Holst’ s compositional style. 64. Searle, Arthur. “Music Manuscript Acquisitions at the British Library Since 1981.” Brio 31, no. 2 (autumn–winter 1994): 69–78. Notes the acquisition of “a substantial collection of Holst autographs (the gift of the composer ’s widow and daughter)” and Beethoven’ s tuning fork, given by Holst to Vaughan Williams and subsequently bequeathed to the British Library (Add. ms. 71148). 65. Turner, Malcolm and Arthur Searle. “The Music Collections of the British Library Reference Division.” Notes 38, no. 3 (March 1982): 499–549. Explains the origins and history of the manuscript collection, which includes two groups of Holst manuscripts plus correspondence with Ralph Vaughan Williams. The archive of the Society of Authors includes some letters of Holst. 66. Willetts, P. J. “Autographs of Musicians.” British Museum Quarterly 20, no. 1 (March 1955): 3–4. Reports the gift of Nora Day, the ﬁrst complete sketch of Holst’s Choral Fantasia; this acquisition supplements existing autograph manuscripts donated by Isobel and Imogen Holst. Images Collections 67. “Gustav Holst.” http://commons.wikimedia.org/wiki/Category:Gustav_ Holst (accessed June 5, 2010). Contains user-contributed image ﬁles. At the time of writing, there is a portrait of Holst, views of Holst’ s house (Barnes), the Holst Statue (Cheltenham), and memorial tile (Chichester Cathedral). 68. “Gustav Theodore Holst (1874–1934).” National Portrait Gallery. http:// www.npg.org.uk/collections/search/person.php?search=ss&firstRun= true&sText=holst&LinkID=mp02244 (accessed June 5, 2010). Information on thirteen portraits of Holst, including oil paintings, prints, and photographs. Images are displayed for some of the portraits. 69. Camner, James. Great Composers in Historic Photographs: 244 Por traits from the 1860s to the 1960s . New York: Dover Publications, 1981. 125 p. ISBN 0486241327. ML 87.G818.

48

Gustav Holst: a research and information guide

Contains a photograph of Holst (by Herbert Lambert), accompanied by a musical staff with the “Jupiter” theme (The Planets) and signature. 70. Lambert, Herbert. Modern British Composers: Seventeen Portraits. London: F. & B. Goodwin, 1923. 5, 17 p. ML 87.L173. Features an introductory essay written by Eugene Goossens on contemporary British music. The photographs are mounted on separate cards. The photograph of Holst is one frequently seen as illustrative material. 71. Lunn, John E. and Ursula Vaughan Williams. Ralph Vaughan Williams: A Pictorial Biography . London: Oxford University Press, 1971. 1 19 p. ISBN 019315420X. ML 88.V369 L85. This pictorial biography of Ralph photographs of Holst. No index.

Vaughan Williams features many

72. McCoy, Guy. Portraits of the World’s Best-Known Musicians; an Alphabetical Collection of Notable Musical Personalities of the W orld Covering the Entire History of Music . Philadelphia, PA: T. Presser Co, 1946. 251 p. ML 87.E78. A collection of thumbnail-sized portraits, originally published as part of the monthly Historical Musical Portrait series in The Etude magazine. Holst is included, with a reference to conducting his own works in America. 73. Moore, Jerrold Northrop. Vaughan Williams: A Life in Photographs . Oxford: Oxford University Press, 1992. 121 p. ISBN 0198162960. ML 88.V39 M66 1992. Several photographs and mentions of Holst are scattered throughout this pictorial biography of Vaughan Williams. 74. Rothenstein, William. “Gustav Holst.” In Twenty-Four Portraits: Second Series. Chatto and Windus, 1923. [57] p. N 7598.R6 1923 Rothenstein’s pencil sketch of Holst is accompanied by a brief “literary” portrait (unsigned). Individualimages 75. “Composer Gustav Holst, [Ford], ‘Sharman,’ and ‘Howard-Jones’ at University College, Reading.” http://www.ﬂickr.com/photos/spiral-galaxy/ 4209162950/(Photograph, 1920s). 76. “Composers Edmund Rubbra & Gustav Holst, Ena Towns, ‘Self’ (front left) & Doreen Senior (front right) at University College Reading.”http:// www.ﬂickr.com/photos/spiral-galaxy/4208399573/ (Photograph, 1920s).

Bibliography

49

These two photographs demonstrate Holst’s reported dislike of having his picture taken! 77. “Gustav Holst: A British Ultramodern for the USA.” (Sketch, 1923) A cartoon sketch of Holst arriving in the United States for a series of concerts that appeared on the cover of Music Mirror, vol. 3, no. 4 (April 1923). Reprinted in Brass Bulletin, no. 88 (1994). 78. Hall, Richard. “Gustav Holst. Camera Portrait.” Music and Letters 20 (1939): frontispiece. http://www.jstor.org.ﬂoyd.lib.umn.edu/stable/728520?seq=2 (accessed June 5, 2010). Photograph. 79. Lambert, Herbert. “Gustav Theodore Holst.” (bromide print, 1923) http:// www.npg.org.uk/collections/search/portrait.php?sText=holst&submitSe archTerm_x=0&submitSearchTerm_y=0&search=ss&OConly=true&ﬁrs tRun=true&LinkID=mp02244&page=1&rNo=1&role=sit 80. Lambert, Herbert. “Gustav Theodore Holst.” (Photograph, 1921) http://www.npg.org.uk/collections/search/portrait.php?sText=holst&su bmitSearchTerm_x=0&submitSearchTerm_y=0&search=ss&OConly= true&ﬁrstRun=true&LinkID=mp02244&page=1&rNo=2&role=sit 81. Munns, Bernard. “Gustav Holst.” (Oil, 1923) Digital image of the oil painting held by the Cheltenham Art Gallery and Museum (http://www.cheltenhamartgallery.org.uk/Default.aspx). Depicts Holst composing in his music room, 10 London.

The Terrace, Barnes,

82. Oakley, Harry Lawrence. “Gustav Theodore Holst.” (Cut paper silhouette, 1929) http://www.npg.org.uk/collections/search/portrait.php?sText= holst &submitSearchTerm_x=0&submitSearchTerm_y=0&search=ss&OConl y=true&ﬁrstRun=true&LinkID=mp02244&page=1&rNo=3&role=sit 83. Rothenstein, William. “Gustav Holst.” (Drawing, 1920). Reprinted in Music and Letters 1, no. 3 (1920). http://www.jstor.org.ﬂoyd.lib.umn. edu/stable/pdfplus/725903.pdf 84. Woodforde, Milicent. “Gustav Theodore Holst.” (Oil, 1910) http://www. npg.org.uk/collections/search/portrait.php?sText=holst&submitSearchTe rm_x=0&submitSearchTerm_y=0&search=ss&OConly=true&ﬁrstRun= true&LinkID=mp02244&page=1&rNo=0&role=sit Articles 85. “Intriguing Portrait of Gustav Holst Acquired by Holst Birthplace Museum.” Culture24. http://www.culture24.org.uk/history+%2526+heritage/ literature+%2526+music/art76279 (accessed June 5, 2010).

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Gustav Holst: a research and information guide

Reports the acquisition of the William Rothenstein drawing of Holst. Includes a reproduction of the drawing. 86. “Mystery Holst Picture Purchased by Cheltenham Museum.” BBC Gloucestershire. http://news.bbc.co.uk/local/gloucestershire/hi/people_and_places/ arts_and_culture/newsid_8516000/8516841.stm (accessed June 5, 2010). Announces the Holst Birthplace Museum’ s acquisition of the William Rothenstein drawing of Holst. A mystery sketch of a woman was revealed below the Holst drawing when the old mounting was removed. 87. Branchini, Valentina. “Notes on Photographers: Alvin Langdon Coburn, Musicians of Mark, 1914–1921.” Geor ge Eastman House, Independent Museum of Photography . http://notesonphotographs.eastmanhouse.org/ index.php?title=Alvin_Langdon_Coburn/Musicians_of_Mark,_1914–1921 (accessed June 5, 2010). Alvin Langdon Coburn was commissioned to photograph English literary and art celebrities for New York’s Metropolitan Magazine. These portraits were to be part of a volume titled Musicians of Mark ; however, it was never published. The online exhibit includes digital images for the thirty-three musicians (including a portrait of Holst) and several manuscript pages in Coburn’s hand. Media 88. “Archival Sound Recordings/British Library Sound Archive.” British Library. http://sounds.bl.uk/About.aspx (accessed June 5, 2010). The archive, opened in 1955 as the British Institute of Recorded Sound, became part of the British Library in 1983. The catalog can be searched online and contains several listings for Holst-related materials, ranging from recordings conducted by Holst to radio programs featuring remarks by Imogen Holst and Ralph Vaughan Williams. 89. “Gustav Holst.” Last.fm. (accessed June 5, 2010).

http://www.last.fm/music/Gustav+Holst

Media site features a biographical sketch from Wikipedia, “Gustav Holst radio” (audio links), six portraits, selected Holst video from YouTube, lists of similar artists, most frequently listened to albums and tracks, events, and a discussion forum. Scores 90. “Gustav Holst.” Choral Public Domain Library . http://www2.cpdl.org/ wiki/index.php/Gustav_Holst (accessed June 5, 2010).

Bibliography

51

A wiki site that contains scores (original or arranged) and texts for ﬁfteen of Holst’s choral works. Some works include audio clips or MIDI ﬁles, and some have restrictions on use. 91. “Gustav Holst.” Mutopia. http://www.mutopiaproject.org/cgibin/make-table. cgi?searchingfor=holst (accessed June 5, 2010). Provides links to free sheet music forThaxted, Cranham, and two excerpts from Folk Songs from Hampshire (“Sing Ivy” and “John Barleycorn”). 92. “Gustav Holst (September 21, 1874–May 25, 1934).” IMSLP/Petrucci Music Library. http://imslp.org/wiki/Category:Holst,_Gustav (accessed June 5, 2010). Collection of eleven online scores; some are blocked due to copyright restrictions. Includes general information about the piece; some also have audio ﬁles available. 93. “Gustav Holst (1874–1934).” Werner Icking Music Archives. http://ickingmusic-archive.org/ByComposer/Holst.php (accessed June 5, 2010). The online archive contains two arrangements of works by Holst: I Vow to Thee My Country, and O Sing unto Our Lord God. Quotations 94. “Gustav Holst.” Wikiquote. http://en.wikiquote.org/wiki/Gustav_Holst (accessed June 5, 2010). Includes ﬁve quotes from published sources. 95. Holmes, John L. “Gustav Holst (1874–1934).” In Conductors on Composers, pp. 87–88. Westport, CT: Greenwood Press, 1993. ISBN 0313277273. ML 160.H732 1993. Provides quotes by conductors Sir Richard Hickox about Holst.

Adrian Boult, Andre Previn, and

HOLST’S LIFE AND WORKS Biographical dictionaries and encyclopedias 96. “Gustav Holst.” Wikipedia. http://en.wikipedia.org/wiki/Gustav_Holst (accessed June 1, 2010). Biographical sketch, brief list of references and links to related exter nal sites and list of works. There are individual entries in Wikipedia for Holst’s major works such as The Planets.

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Gustav Holst: a research and information guide

97. De Bekker, Leander Jan. “Holst, von (Gustav Theodore).” In Black’s Dictionary of Music & Musicians , pp. 279–280. London: A. & C. Black, 1924. vii, 758 p. ML 100.D32 1924. Brief biographical details and list of works. The entry is accompanied by an anecdote about Holst completing the Fugal Concerto in the library of the University of Michigan just in time for the work’s performance. 98. Evans, Edwin. “Holst, Gustav (Theodore).” In Grove’s Dictionary of Music and Musicians, vol. 4, pp. 330–338. 5th ed., edited by Eric Blom. New York: St. Martin’s Press, 1954. ML 100.G7. Biographical sketch, brief bibliography (ten items) and classiﬁed list of works. 99.

Evans, Edwin. “Holst, Gustav Theodore.” In Grove’s Dictionary of Music and Musicians, vol. 2, pp. 657–660. edited by H. C. Colles, 3rd ed. New York: Macmillan, 1927. Includes brief biographical details, but a discussion of Holst’s works predominates. There is a chronological list of works (includes both unpublished and unperformed works). An updated version of this entry also appears in the fourth edition of the dictionary.

100. Ewen, David. “Gustav Holst 1874–1934.” In Composers Since 1900: A Biographical and Critical Guide, pp. 276–279. New York: H. W. Wilson Co, 1969. ISBN 082420400X. ML390.E8. A survey of Holst’s life and works, with a selective list of works. 101.

Ewen,David. “Holst, Gustav.” In Encyclopedia of Concert Music , pp. 204–205. New York: Hill and Wang, 1959. ix, 556 p. ML100.E85. Discusses Holst’s life and work. There are separate entries for The Planets and the St. Paul’s Suite.

102.

Heldt,Guido. “Holst Gustav(us) (Theodore von).” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik , edited by Friedrich Blume. col. 249–253. 2., neubearbeitete Ausg. edited by Ludwig Finscher. Kassel: Bärenreiter , 1994–2007. ISBN 376181 1009. ML 100.M92 1994. Extended biographical sketch, accompanied by a classiﬁed list of works and bibliography.

103.

Holst,Imogen. “Holst, Gustav.” In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik, edited by Friedrich Blume, vol. 6, pp. col. 652–656. Kassel: Bärenreiter-Verlag, 1957. ML 100.M87. Biographical sketch and brief discussion of Holst’s musical style, accompanied by a facsimile reproduction of the canon “O Strong of Heart.” Includes a classiﬁed list of works and bibliography.

Bibliography

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104. Holst, Imogen. “Holst, Gustav(us Theodore von).” In New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, vol. 8, pp. 659–666. New York: St. Martin’s Press, 1981. ML 100.N76 1981. Expansive biographical sketch, discussion of Holst’ s works, bibliography, and classiﬁed list of works. Illustrations include a portrait and photograph of Holst (Woodforde and Stern, respectively). 105. Kennedy, Michael. “Holst, Gustav (Theodore).” In The Oxford Companion to Music , edited by Alison Latham. Oxford Music Online , http://www.oxfordmusiconline.com/subscriber/article/opr/t114/e3305 (accessed June 5, 2010). Biographical sketch, brief discussion of works, and bibliography separate list of works.

. No

106. Leach, Gerald. “Holst, Gustav Theodore (1874–1934).” In British Composer Proﬁles: A Biographical Dictionary and Chronology of Past British Composers, 1800–1989 , 2nd ed., p. 54. High Beeches, Gerrards Cross: British Music Society , 1989. ISBN 18705361870536037. ML 390.L351989. The brief assessment of Holst’s career acknowledges and quotes some of the wide variety of critical response regarding Holst. 107.

Matthews, Colin. “Holst, Gustav.” In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/ 13252 9 June 2009 (accessed June 20, 2010). Extensive biographical sketch with a discussion of Holst’s compositional style. Includes a classiﬁed list of works, bibliography (although nothing is dated after 2000), and links to resources about Holst in other Oxford products. There is only one image, a sketch from the opening of theHymn of Jesus.

108.

Slonimsky , Nicolas, Laura Kuhn, and Dennis McIntire. “Holst, Gustav(us Theodore von).” In Baker’s Biographical Dictionary of Musicians, vol. 3, pp. 1599–1600. New York: Schirmer Books, 2001. ISBN 0028655257. ML 105.B16 2001. An in-depth biographical sketch, selective list of works, and bibliography.

109. Thompson, Kenneth. “Gustav Holst (1874–1934).” In A Dictionary of Twentieth-Century Composers (191 1–1971), pp. 209–226. London: Faber, 1973. ISBN 0571090028. ML 118.T5. Brief biographical sketch followed by a list of works (arranged chronologically) with bibliography . Includes details of ﬁrst broadcast performances.

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110.

Thom pson, Oscar and Bruce Bohle. “Holst, Gustav Theodore.” In The International Cyclopedia of Music and Musicians, 11th ed., pp. 1032–1033. New York: Dodd, Mead, 1985. ISBN 0396084125. ML100.I57 1985. Survey of Holst’s life and works, with a classiﬁed list of works.

111.

aughan V Williams, Ralph. “Holst, Gu stav Theodore.” In The Dictionary of National Biography , 1931–1940: W ith an Index Covering the Y ears 1901–1940 in One Alphabetical Series, edited by L. G. Wickham Legg, pp. 441–443. London: Oxford University Press, 1970. DA28.D48 Suppl. 1931–40. A thoughtful summary of Holst’s career, with particular attention to the early part of his career and inﬂuences on his work. There is a brief bibliography.

112.

aVughan Williams, Ralph. “Gustav Theodore Holst (1874–1934).” In Vaughan Williams on Music, edited by David Manning, pp. 301–307. Oxford: Oxford University Press, 2008. ISBN 0195182392. ML60.V285 2008. Reprint of no. 111.

113.

W arrack, John. “Holst, Gustav Theodore (1874–1934).” Oxford Dictionary of National Biography . http://www.oxforddnb.com/view/article/ 33963?docPos=1 (accessed June 5, 2010). Biographical sketch, list of sources, archives, and likenesses, and a “wealth at death” sum from probate records. The sketch is accompanied by a reproduction of the Herbert Lambert photograph.

114. Weissmann, John S. “Holst, Gustav (Theodore).” In Dictionary of Contemporary Music, edited by John Vinton, p. 324. New York: E. P. Dutton, 1974. ISBN 0525091254. ML 100.V55. Discussion of the music, list of principal works, and brief bibliography . Holst’s music is described as “curiously ambivalent art”—not radical, yet unconventional in style (p. 324). 115. Wyndham, Henry Saxe and Geoffrey l’ Epine. “Von Holst, Gustav Theodore.” In Who’s Who in Music: A Biographical Record of Contemporary Musicians, 2nd ed., rev . and enl. ed., p. 299. London: Sir I. Pitman & Sons, 1915. First edition, 1913, p. 218. ML106.G7 W9. A brief summary of Holst’ s education and career; the end of the entry lists favorite recreation (“walking”), club (“Society of Authors”) and address. 116. Young, Percy M. “Holst, Gustav (1874–1934).” In A Critical Dictionary of Composers and Their Music, pp. 164–165. London: D. Dobson, 1954.

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Also published as: Biographical Dictionary of Composers . New York: Crowell, 1954. 381 p. ML 105.Y7 1954. This dictionary of composers emphasizes the contributions of each to music, rather than the usual biographical details. Each entry contains a list of suggested works to perform or listen to, and a brief bibliography . Appendices list composers by country and a master classiﬁed list of suggested works. Young attributes the severity of Holst’ s style as a reaction against late romanticism and deliberately suggests some accessible “minor” works as a starting point for listeners. Collective biographical sources 117.

Baldwin,Lillian. “Gustav Holst.” In A Listener’s Anthology of Music, volume 2: The Musician as Poet, Painter , and Dramatist , pp. 442–451. New York: Silver Burdett Co., 1948. MT 90.B25. This self-described “fairly comprehensive and … enjoyable repertory of the world’s best music” (p. iv) includes a biographical sketch of Holst, an assessment of his music (which leans heavily on Vaughan Williams’s remarks published in the preface to the biography written by Imogen Holst, and a non-technical description of the “Mars” and “Mercury” movements of The Planets suite.

118.

Ewen, David. “Gustav Holst.” In The World of Twentieth-Century Music, pp. 372–374. Englewood Cliffs, NJ: Prentice-Hall, 1968. Second edition, rev. by Stephen J. Petit. London: Hale, 1991. ML 390.E87. Brief biographical details and discussion of Holst’ s compositional style and inﬂuences. There are program notes for only The Planets and the St. Paul’s Suite.

119.

Fansela u, Rainer. “Gustav Holst.” In Komponisten Der Gegenwart: Loseblatt-Lexikon—Nachlieferung. vol. 3. München: Edition Text + Kritik, 1992. ISBN 3883774146. ML 390.K65. This loose-leaf German-language collection contains a biographical sketch of Holst as well as a list of works, bibliography, and discography.

120.

Hiscock, Terry. “Gustav Holst 1874–1934.” In Composing Mortals: 20thCentury British Classical Composers , pp. 126–132. London: Thames, 1998. ISBN 090521062X. ML 390.H58 1998. This collection of biographical proﬁles is geared speciﬁcally to the layperson. Each proﬁle is accompanied by a caricature by John Minnion.

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121.

Holbrooke, Joseph. “Gustav Holst.” In Contemporary British Composers, pp. 162–177. London: C. Palmer, 1925. ML 390.H73. Holbrooke shares his recollections of meeting Holst along with a sur vey of his music. Biographical details are included, but are noted to be from an uncredited “recent dictionary.” The article is accompanied by the Herbert Lambert photograph of Holst and the manuscript from the sixth chorus from Alcestis, and a complete list of published works.

122.

Holst,Imogen. “Gustav Holst.” In The New Gr ove Twentieth-Century English Masters: Elgar, Delius, Vaughan Williams, Holst, Walton, Tippett, Britten, edited by Diana M. McVeagh, pp. 145–174. London: Macmillan, 1986. ISBN 0333402413. ML 390.N47 1986. This article has been updated from the version published in the New Grove Dictionary of Music and Musicians by Colin Matthews (assisted by Lowinger Maddison). The survey of Holst’s life and works is supplemented by a classiﬁed list of works, bibliography , and several illustrations.

123.

Oxbury , Harold. “Holst, Gustav Theodore.” In Great Britons: TwentiethCentury Lives, pp. 169–170. Oxford: Oxford University Press, 1985. ISBN 0192115995. CT783.O93 1985. An introductory biographical sketch; features an illustration of Holst and Vaughan Williams on one of their walking tours.

Life and works Life Monographs 124.

Holmes,Paul. Holst: His Life and T imes. Illustrated Lives of the Great Composers. London: Omnibus Press, 1997. 141 p. ISBN 071 1965250. ML410.H748 H58 1997. This engaging biography, geared to a general audience, places Holst in historical context. Includes many illustrations; however , most are poorly reproduced; in contrast, the cover of the paperback edition is colorful and very nicely done. Includes brief bibliography, discography, and index.

125.

Holst,Imogen. Gustav Holst: A Biography. London: Oxford University Press, 1938. xvi, 199 p. 2nd ed., 1969. xvi, 209 p. ISBN 0192821939. ML 410.H748 H6. A biography penned by Gustav’ s daughter, Imogen. Composer Ralph Vaughan Williams, Holst’s friend, contributed the foreword. The book

Bibliography

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reads like an “eye-witness” account, rather than a scholarly study . Miss Holst notes in her thematic catalog (p. 259) that as a novice biographer , she failed to completely document some sources, particularly correspondence. Between the editions of the biography, some of the correspondence had unfortunately been destroyed by the owners. Includes twelve plates of illustrations, a list of works, bibliography , and index. The second edition adds four letters to Vaughan Williams discovered in 1958. 126.

Hol st, Imogen. Holst. Great Composers. London: Faber, 1974. 96 p. ISBN 057109967X. 2nd ed., 1981. ISBN 0571180329. ML 410.H748 H622. An introductory biography. Nicely illustrated with a selection of photographs, line drawings, and musical examples. Includes bibliography , list of Holst’s most popular works, and index.

127.

Holst,Imogen. Holst. Novello Short Biographies. London: Novello, 1972. 22 p. ISBN 0853600104. ML 410.H74 H62 1972. Biographical sketch accompanied by a list of principal works.

128.

Jean-Aubry , G. Gustav Holst. Miniature Essays. J. & W. Chester, 1924. 12 p. ML 410.H74 J4 The pamphlet gives an overview of Holst’s life and works, in both French and English. Includes a facsimile excerpt from “Mars” (The Planets).

129.

Mitchell,Jon C. A Comprehensive Biography of Composer Gustav Holst, with Correspondence and Diary Excerpts: Including His American Years. Studies in the History and Interpretation of Music. Lewiston, NY : E. Mellen Press, 2001. vii, 698 p. ISBN 0773475222. ML 410.H748 M57 2001. Mitchell’s massive tome is a particularly good source of information about Holst’s time in America. Amenities include a selective bibliography, index, and several appendices (a chronological listing of Holst’ s music, a guide to persons mentioned in the text, a transcript of Ralph Vaughan Williams’ remarks broadcast as part of the BBC Holst Memorial Concert, facsimiles, sketches, cartoons, and reproductions of selected programs). The book’s usefulness, however, is compromised by its poor presentation—small-sized, unattractive font, low-quality reproductions of illustrations, and numerous typographical and indexing errors.

130.

Rubbra,Edmund. Gustav Holst. Contemporary British Composers. Monaco: Lyrebird Press, 1947. 48 p. ML 410.H748 1947. A survey of “all the works of importance and general interest.” (p. 45) Includes musical examples but no bibliography or index.

131.

aremba, S Meinhard. “Triumphator wider Willen: Gustav Holst (1874–1934) [Triumphant Man Against His Will: Gustav Holst (1874–1934)].” In

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Elgar, Britten & Co.: Eine Geschichte der britischen Musik in zwölf Portraits, pp. 187–210. Zürich: M &T Verlag, 1994. ISBN 3726560297. ML 390.S22 1994. This German-language collection of narrative portraits of twelve composers provides a survey of British musical history . The extended biographical sketch is accompanied by two portraits of Holst. A timeline covering all the composers in the collection and discography ﬁnish off the volume. 132.

Short,Michael. Gustav Holst: The Man and His Music . Oxford: Oxford University Press, 1990. xiv , 530 p. ISBN 019314154X. ML 410.H748 1990. This extensive study is based on Holst’ s correspondence, diaries, and interviews with Holst’s friends and associates. Two thirds of this study is devoted to biography, with a transitional chapter summarizing Holst’ s legacy between the biography and a discussion of Holst’ s musical style. A selection of illustrations, brief musical examples, personalia, classiﬁed list of Holst’s works, extensive bibliography , and index round out the volume.

Articles 133.

Film “ About Composer Holst Found.” BBC News. http://news.bbc.co.uk/ 2/hi/uk_news/england/gloucestershire/8165835.stm (accessed June 5, 2010). Reports that rare ﬁlm footage from an unﬁnished project about Gustav Holst was discovered by producers at BBC Gloucestershire. The discovery was sparked by an e-mail message from a member of the original ﬁlm production team. There is a link to an excerpt from the footage (“Gustav Holst: The Lost Films”), including remarks by Imogen Holst, Edmund Rubbra, and two of Holst’s former students. The excerpt featuring Rubbra relates the story of Holst having to practice trombone in a farm ﬁeld until an angry farmer chased him away.

134.

“Gustav Holst.” Allmusic. http://www.allmusic.com/cg/amg.dll?p=amg& sql=41:7468 - T0(classical); http://www.allmusic.com/cg/amg.dll?p=amg& sql=11:3ifrxql5ldhe-T0 (popular) (accessed June 5, 2010). Holst is represented by two pages on Allmusic: one for classical music and one for popular music. The classical music side features a biographical sketch by Bruce Eder, plus a discography. The biographical sketch on the “popular music” page includes a discussion of Holst’s music and the popular music of the 1960s and 1970s (despite Imogen Holst’s efforts to prevent any of Holst’s music being adapted to a rock music format) and

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ﬁlm music. The discography includes albums and/or tracks arranged or adapted from Holst’s music. 135.

“GustavHolst.” BBC. http://www.bbc.co.uk/music/artists/3ba68671e3b5-4263-81dc-76b16b29bbc6 (accessed June 5, 2010). A BBC artist proﬁle; the biographical sketch is taken from Wikipedia and “links & information” is taken from MusicBrainz.

136.

“Gustav Holst.” Chester Novello. http://www.chesternovello.com/Default. aspx?TabId=2431&State_2905=2&composerId_2905=712 (accessed June 5, 2010). Biographical proﬁle, list of works published by Chester Novello, discography, and list of upcoming performances.

137.

“GustavHolst.” Stainer & Bell. http://www.stainer.co.uk/holst.html (accessed June 5, 2010). Brief biographical proﬁle and portrait plus list of works published by Stainer & Bell (both in print and on demand).

138. Gustav Holst, 1874–1934. (DVD). Princeton, NJ: Films for the Humanities & Sciences, 2005. FFH 3865. 29:00. Previously issued in VHS format, 1993. FFH 3865. Reissue of the 1984 Central Independent Television production titled “Gustav Holst (1874–1934): Imogen Holst Recalls Her Father.” The ﬁlm features Miss Holst’s reminiscences, accompanied by archival footage and performance of selected vocal works by Ex Cathedra with Leslie White, violin, and Audrey Douglas, harp. 139. “Gustav Holst 1874–1934.” Pytheas Center for Contemporary Music. http://www.pytheasmusic.org/holst.html (accessed June 5, 2010). Biographical proﬁle (from Allmusic), list of works (chronological and classiﬁed lists), and list of links (to both print and online resources). The Pytheas Center for Contemporary Music is a nonproﬁt organization whose mission is to promote contemporary music. 140.

“GustavHolst: The Lost Films.” BBC Gloucestershire. http://www.bbc. co.uk/gloucestershire/content/articles/2009/07/09/holst_ﬁlms_feature. shtml (accessed June 5, 2010). Reveals unseen footage from an unﬁnished ﬁlm on Holst originally ﬁlmed in the late 1970s. The footage includes interviews with Imogen Holst, Edmund Rubbra, Herbert Howells, Michael Tippett, and several of Holst’s former students. The webpage includes links to video clips

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Gustav Holst: a research and information guide

from the footage; unfortunately these links are not functional for viewers outside the UK. 141.

“GustavusTheodore Holst (1874–1934).” ClassicalNet. http://www. classical.net/music/comp.lst/holst.php (accessed June 5, 2010). This comprehensive classical music site contains Holst’ s biographical proﬁle (by Jane Erb) and lists of recommended recordings and recording reviews.

142.

“Mr . Gustav Von Holst.” Musical Herald, no. 844 (July 1918): 199–202. Overview of Holst’s life and works.

143. “Today: Friday 24 July 2009.” BBC Radio 4. http://news.bbc.co.uk/ today/hi/today/newsid_8166000/8166428.stm (accessed June 5, 2010). One program segment contains an interview with Marjorie Imlah of the Holst Birthplace Trust that explains the rediscovery of the lost ﬁlm boxes in museum storage. An audio clip of the segment available. 144. Anderson, W. R. “Some Modern Masters, 11: Gustav Holst (1874–1934).” Music Teacher 26, no. 10 (October 1947): 383–389. Overview of Holst’s life (chieﬂy distilled from the biography written by Imogen) and compositional style, with particular attention toThe Planets. Advocates for more performances of the music. 145. B., R “Artists of the Day: Gustav Holst.” Musical News & Herald 70, no. 1771 (March 6, 1926): 224. Overview of Holst’s career that emphasizes his perseverance in bringing his music to the public. Published in conjunction with an upcoming per formance of three movements of The Planets by the London Symphony Orchestra (March 8, 1926). 146. Bainton, Edgar L. “Some British Composers, 4: Gustav Holst.” Musical Opinion 34, no. 402 (March 1911): 397–398. Ponders the lack of public recognition for Holst despite successful per formances of his works. Includes discussion of The Mystic Trumpeter, Songs from The Princess, and Hymns from the Rig Veda. 147.

Bennett,Rodney. “Gustav Holst.” Bookman 63, no. 374 (November 1922): 117–120. Bennett records his impressions of Holst “the man.”The reader is referred to articles by Edwin Evans (Musical Times) and Ralph Vaughan Williams (Music & Letters ) for discussions of the music. After trying to keep up with Holst for the day, Bennett offers this description of Holst: “the chief characteristic of the man is restless energy; of his music, repose” (p. 119).

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148. Capell, Richard. “Gustav Holst: Notes for a Biography .” parts 1 and 2. Musical Times 67, no. 1006 (December 1, 1926): 1073–1075; 68, no. 1007 (January 1, 1927), pp. 17–19. Extended biographical sketch includes detailed information on Holst’ s family background and early life. The second part covers Holst’s teaching appointments and overview of his compositions with information on ﬁrst performances and performers. 149.

Coates,Albert. “Gustav Holst: Tone-Poet, Musician, Composer.” The Millgate 24, no. 2 (September 1929): 707–709. The conductor provides an overview of Holst’s life and works.

150. Evans, Edwin. “Modern British Composers. VI. Gustav Holst.” parts 1 through 3. Musical Times 60, no. 920 (October 1919): 524–528; 60, no. 921 (November 1919): 588–592; 60, no. 922 (December 1919): 657–661. Biographical sketch (including a discussion of Holst’s family origins) and sympathetic account of Holst’s works. Includes musical examples and list of works to date. 151.

Hogarth, Basil. “The Great English Modernists, 5: Gustav Holst.”Musical Mirror 5, no. 8 (August 1925): 149. Hogarth starts off with a bold statement: “Gustav Theodor Holst is one of the most remarkable ﬁgures that contemporary music has to offer, and, without a doubt, one of the greatest scholastic musicians of the present time.” He then gives an overview of Holst’s activities to date, with a brief look at Holst’s operatic output.

152. Hogarth, Basil. “Our Modern Music Makers, 6: Gustav Holst.” Musical Progress and Mail 2, no. 1 (October 1931): 26–27. Covers Holst’s early life and his orchestral career. 153.

Holst, Imogen. “Gustav Holst.” Canon 16, no. 7 (February 1963): 13–15. An overview of Holst’s life and work. Although many people consider Holst to have suffered the misfortunes of having to earn a living and living at a time of transition in music, Imogen feels that these were actually blessings in disguise for Holst. Upheavals in music forced him to be original, and working as a teacher and orchestra player gave him great skills for composition.

154.

uHssey, Dyneley. “English Musicians, 8: Gustav Theodore Holst.” Landmark 10, no. 2 (February 1928): 119–122. Survey of Holst’s life and works.

155. Lyle, Watson. “Gustav Holst and His Music.” (January 1927): 125–127.

Windsor Magazine 65

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This survey of Holst’ s life and works of fers a detailed look at his “Sanskrit” period works and teaching career. 156.

Maine,Basil. “Four English Composers.” The Choir 17 (May 1937): 70. Contains a survey of Holst’s life and works.

157. Northcott, Bayan. “Composer of the Month: Gustav Holst—an English Enigma.” BBC Music Magazine 8, no. 1 (September 1999): 51–54. Surveys Holst’s life and career complete with illustrated timeline. Holst’s musical style bears characteristics of his open ear (i.e., interests), speculative mind, and evolving forms. The article is rounded of f with a brief bibliography and discography. 158. Parker, D. C. “Gustav Holst: A Musical Stalwart of Young England.” Musical America 36, no. 13 (July 1922): 5–6. Survey of Holst’s career and works. 159. Patterson, Annie. “Great Minds in Music: Gustav Holst.” Great Thoughts 9, 9th ser. no. 2170 (July 1925): 146–148. Overview of Holst’s life and works. 160. Pearson, Dorothy K. “Gustav Holst: One of Gloucestershire’s Illustrious Sons.” Cotswold Life 3, no. 8 (May 1971): 16–21, 33. Introductory survey of Holst’s life and works. 161.

Porte,John F. “Gustav Holst.” Musical Courier 2, no. 28 (October 1 1, 1923): 35–36. Survey of Holst’s career and works.

162.

eldenslagh, S C. “Gustav Holst.” Belgique Musicale (April 1923): 152–154. Survey of Holst’s life and works (in French).

163.

rippett, T David. “A Biography of Gustav Holst.” MusicWeb International. http://www.musicweb-international.com/holst/page1.html (accessed June 5, 2010). This extensive biographical sketch, commissioned by MusicWeb, is divided into four parts for ease of navigation. Includes bibliographical references and portraits of Holst throughout his lifetime.

164. Warrack, John. “Pioneer of the Planets.” Observer (September 22, 1974): 57–61. Survey of Holst’s life, works, and reputation. 165. Whittaker, W. G. “Mr . Gustav von Holst.” Musical Herald 844 (July 1918): 199–202. Overview of Holst’s life and works.

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166. Wortham, H. E. “Master Craftsmen, 5: Gustav Holst.”Music and Youth 7, no. 1 (January 1927): 9–10. A survey of Holst’s career, achievements, and works to date. 167.

W -Y, W. “The Old Vic.” Music Student (January 26, 1918). Summary reprint, Morley College Magazine, 27 no. 5 (February 1918): 66–67. Report of a lecture by W. G. Whittaker about Holst’s life and works.

Dissertations and theses 168. Boghossian, Claire-Marie. “Gustav Holst: Sa Vie, Son Oeuvre.” Ph.D. diss., Universite de Paris IV (Paris-Sorbonne), 1987. 3 v. (951 leaves) A comprehensive treatment of Holst’ s life and works. The opening section contains information on Holst’ s extended family. Several interesting comparisons are made—the misunderstood, gifted child Gustav is compared to Mozart, and Holst’ s failure to achieve his ultimate art is likened to Scriabin, who also did not have the time to reach his ideal. The author detects Holst’s inﬂuence in such widely varied composers as Ralph Vaughan Williams, Benjamin Britten, Karol Szymanowski, Olivier Messiaen, and Igor Stravinsky. Includes annotated bibliography and list of works, discography, genealogical and astrological charts, and reproductions of photographs and ofﬁcial documents (birth, marriage, death certiﬁcates, and the document that records the dropping of “von” from his surname). There is an abstract in English, but the remainder of the text is in French. 169. Mayne, Christian. “Gustav Holst: University, 1952. 235 leaves.

A Study.” M.A., Texas Christian

The most valuable facet of this document is the fact that the author was able to interview several people who knew Holst: his daughter Imogen, friends and colleagues Vally Lasker (St. Paul’ s Girls’ School), Har vard professor Archibald Davison, Harold Brooke (Novello), Dulcie Nutting (Morley College), and last but not least, Ralph Vaughan Williams. This extraordinarily thorough study examines the life of Holst in the context of English musical history . The author also delves deeply into Holst’s relationship to literature; consequently the works examined are mostly vocal works. An appendix contains a list of literature that Holst is known to have read. Includes bibliography and musical examples. 170. Scheer, Christopher M. “Fin-De-Siecle Britain: Imperialism and Wagner in the Music of Gustav Holst.” Ph.D. diss., University of Michigan, 2007. 203 leaves.

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Examines Holst’s life from the turn of the twentieth century toWorld War I in an attempt to better understand his compositional development from the two perspectives of Imperialism and Wagnerian culture. The dominance of Holst’s daughter Imogen’s interpretations is challenged in light of documentary and circumstantial evidence. Several of Holst’ s works, including King Estmere, Beni Mora, The Cloud Messenger, The Perfect Fool, and the operas are studied. Includes musical examples and bibliography. Documents 171.

“CensusRecords.” National Archives. http://www.1901censusonline. com/results.asp?wci=person_results&searchwci=person_search (accessed June 1, 2010). Census records (1841–1901) can be searched online from this gateway . Search results for the 1901 census includes Holst’s family in Cheltenham.

Childhood 172.

“MusicalGenealogies, 3: Gustav Holst-Klingenberg.” Musical News & Herald 71, no. 1800 (October 9, 1926): 304. Traces Holst’s educational lineage from Sir Charles Villiers Stanford (Royal College of Music) back to Gottlieb Klingenber g, an obscure seventeenth-century German musician.

173. Burnett, Henry W. “Holst’s First (?) Published Composition.” Musical Times 75, no. 1102 (December 1934): 1120. According to an entry in Boys Own Annual (1890), Holst was awarded a prize in the original composition competition. Additional correspondence from G. J. H. Northcroft (editor of Boys Own Paper ) regarding Holst’s prize is found in issue no. 1100, p. 934. 174.

Neve,William. “He Never Mastered Maths.” Cotswold Life (August 1974): 28. Describes Holst’s school years at the Cheltenham Grammar School.

Death and burial 175. Vaughan Williams, Ralph. “Introductory Talk to the Holst Memorial Concert.” In Vaughan Williams on Music, edited by David Manning, pp. 299–300. Oxford: Oxford University Press, 2008. ISBN 9780195182392. ML 60.V285 2008. Reprinted in: Shore, Bernard. The Orchestra Speaks. London: Longmans, Green, 1938, pp. 139–41. Remarks broadcast in BBC national and regional programs on June 22, 1934.

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Articles 176.

“Delius,Elgar, and Holst.” Times (London), no. 46903 (November 5, 1934). Review of a concert to commemorate the deaths of Delius, Elgar , and Holst, given by the Royal Choral Society and conducted by Malcolm Sar gent. Holst’s works included excerpts from The Planets and Ode to Death.

177. “Elgar, Delius, and Holst: Commemoration Concert.” Times (London), no. 46814 (July 24, 1934). Review of the concert given by the City of Birmingham Symphony Orchestra conducted by Leslie Heward. Holst was represented in the concert by his Two Songs without Words; the lion’s share of the program was given to works by Edward Elgar. 178.

“GustavHolst.” Find a Grave. http://www.ﬁndagrave.com/cgi-bin/ fg.cgi?page=gr&GRid=6380559 (accessed June 5, 2010). Information on Holst’s memorial site in Chichester Cathedral. Includes biographical sketch by Robert Edwards and user-contributed photographs of the memorial and the cathedral.

179.

“Holst Memorial Concert: A BBC Broadcast.” Times (London), no. 46788 (June 23, 1934). The concert was conducted by Adrian Boult, and featured remarks by Vaughan Williams. Works included in the concert were excerpts from the Suite de Ballet and Choral Hymns from the Rig Veda, Egdon Heath, Ode to Death, and Turn Back O Man.

180.

“InMemoriam Gustav Holst.” RCM Magazine 30, no. 3 (December 1930): 91. Provides details on Holst’s passing and plans for a memorial concert and scholarship. Holst’s daughter, Imogen also presented Holst’s trombone to the Royal College of Music. Accompanied by a reproduction of the last photograph of Holst, taken approximately nine months before his death.

181.

“InMemory of Holst.” Times (London), no. 46789 (June 25, 1934). Report of the service to bury Holst’ s ashes in Chichester Cathedral near the memorial to Thomas Weelkes, one of Holst’s favorite composers.

182. “Works of Elgar , Delius, and Holst.” (November 2, 1934).

Times (London), no. 46901

Review of the Royal Choral Society concert to mark the deaths of the three composers. Holst works performed include the Ode to Death and selections from The Planets.

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183. Maine, Basil. “Gustav Holst and His Music.” Listener 11, no. 284 (June 20, 1934): 1046. Reprinted in: Basil Maine on Music . London: J. Westhouse, 1945. 129 p. ML 60.M145. Preview of the memorial concert, to be broadcast June 22, 1934. Maine cites The Planets, The Hymn of Jesus and the Choral Symphony as among “the highest attainments of the English renaissance.” Obituaries 184.

“Mr . Gustav Holst.” Times (London), no. 46764 (May 26, 1934). Death announcement.

185.

“Necrologio.”Musica d’Oggi 16, no. 6 (June 1934): 235. Obituary.

186.

Notes “ of the Day.” Monthly Musical Record 64, no. 757 (June 1934): 101. Brief death notice.

187.

“Obituary .” Saturday Review 157 (June 2, 1934): 645.

188. Demarquez, Suzanne. “Alfred Bruneau, Gustav Holst, Frederick Delius.” Revue Musicale 15 (July–August 1934): 158–160. Notes the deaths of the three musicians (in French). 189.

Gray , Frances Ralph. “Gustav Holst.” Paulina, no. 89 (July 1934): 4. Obituary.

190. Howes, Frank. “Gustav Holst, September 21, 1874–May 25, 1934.” Journal of the English Folk Dance and Song Society 1, no. 3 (December 1934): 178. Obituary, with an emphasis on Holst’s connections with folk music. 191.

Hussey , Dyneley. “Gustav Holst.” Spectator 152 (June 1, 1934): 852. Obituary.

192.

Sorabji,Kaikhosru. “Music.” New English Weekly 5, no. 9 (June 14, 1934): 208–209. Sorabji was not a fan of Holst’s music, and that is clearly seen in this obituary.

Surveys of musical works Monographs 193.

Dickinson,A. E. F. and Alan Gibbs. Holst’s Music: A Guide. London: Thames, 1995. xv, 219 p. ISBN 090521045X. ML 410.H748 D52 1995.

Bibliography

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A guide to Holst’ s works likely to be encountered by the concert goer . Music for voices and instruments are covered ﬁrst, followed by music for instruments alone, culminating in a ﬁnal chapter that discusses Holst’ s compositional methods. Dickinson’s manuscript was left unﬁnished at his death in 1978; editor Alan Gibbs prepared the text for publication with editorial additions chieﬂy appearing in additional footnotes and appendices. The text is enhanced by musical examples, a selection of photographs of Holst and various associates, a glossary of musical terms, bibliography, index of Holst works cited in the text, and a general index. Appendices cover Dickinson’s notes on Holst’s revisions of the scoring of The Planets (Dickinson’s original manuscript pre-dated the publication of the facsimile edition of the full score in 1979) and recently published vocal and instrumental works (editorial additions to reﬂect recent scholarship). The bibliography includes Dickinson’ s original list and brief annotations, augmented by the editor with later publications. 194.

Holst,Imogen.The Music of Gustav Holst . London: Oxford University Press, 1951. 164 p. 2nd ed., 1968. ML 410.H748 H63. A chronological survey of Holst’s compositions, from his self-titled “Early Horrors” to a symphony left unﬁnished at his death. A ﬁnal chapter gives summary remarks about Holst’ s compositional style and signiﬁcance. Many musical examples, a chronology , chronological list of compositions, and index round out the volume. The second edition includes Holst’s lecture at Yale on the teaching of art (1929) plus some minor corrections.

195.

Holst,Imogen. The Music of Gustav Holst; and Holst’ s Music Reconsidered. Oxford: Oxford University Press, 1986. ix, 178, 48 p. ISBN 0193154587. ML 410.H748 1986. Two books in one volume. The ﬁrst work serves as the third edition (revised) of the survey of Holst’ s music. In the second title, Miss Holst presents some revised opinions of some of her father’s works.

Articles 196.

Gibbin,L. D. “The Music Trades Review Guide to the Music of Gustav Holst.” Music Trades Review 73, no. 909 (July 1950): 492–494. A classiﬁed list of Holst’s published works.

Holst’s family Adolph von Holst (father) 197.

“Cheltenham,All Saints: Anglican Parish.” Gloucestershire Archives. http://www.nationalarchives.gov.uk/a2a/records.aspx?cat=040-p782& cid=-1#-1 (accessed 5, 2010).

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The collection includes materials related to Holst’s father, who served as organist at the Parish for twenty-six years. Clara Lediard von Holst (mother) 198.

Kinnear , Laura and Christopher Fletcher. The Lediards and Whatleys of Gloucestershire: A Holst Family History . Cheltenham: Holst Birthplace Museum, 2009. History of the family of Holst’s mother, Clara Lediard Holst.

Isobel Holst (wife) 199. “Mrs. Isobel Holst, Widow of the Composer.” Times (London), no. 57539 (April 19, 1969). Obituary. Imogen Holst (daughter) Archives and special collections 200.

“DartingtonHistorical Archives.” Dartington Historical Archives. http:// www.dartington.org/archive (accessed June 5, 2010). Holdings includes many papers and correspondence of Imogen Holst, plus an autograph manuscript of “T ruth of All Truth” (Eight Canons, no. 6) by Gustav.

201.

“ImogenHolst.” Find a Grave. http://www.ﬁndagrave.com/cgi-bin/fg.cg i?page=gr&GSln=holst&GSbyrel=in&GSdyrel=in&GScntry=5&GSob= n&GRid=6826019& (accessed June 5, 2010). Information on Imogen’s burial site in Aldeburgh. Includes biographical sketch by Iain McFarlaine and user -contributed photographs of the cemetery, headstone, and cathedral.

202.

“ImogenHolst: A Life in Music.” http://www.holstfoundation.org/index. php?pr=Imogen_Holst:_a_life_in_music (accessed June 5, 2010). Exhibit panels from an exhibition at Holst’s centenary in 2007.

203.

Aldeburgh Church for Imogen

Grogan,Christopher. “ImogenHolst.com .” Court Lane Music. http:// www.imogenholst.com/ (accessed June 5, 2010). A website devoted to the promotion of Imogen Holst’ s music, prepared by the foremost writer on Imogen. Includes an extensive biographical sketch, list of Imogen’s work as writer, editor, and arranger, and an essay on her musical style. A catalog of her works is yet to come.

Bibliography

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Monographs 204.

Cox, Peter and Jack Dobbs. Imogen Holst at Dartington. Dartington: The Dartington Press, 1988. 75 p. ISBN 0902386131. ML423.H75 I31 1988. A collection of reminiscences, by those with connections to Imogen and her years at Dartington. Many are written by former students; also includes a transcript of an interview with Imogen conducted by Jack Dobbs in 1976.

205.

Grogan, Christopher. Imogen Holst: A Life in Music. Aldeburgh Studies in Music. Woodbridge: Boydell Press, 2007. xxii, 492 p. ISBN 1843832968. ML 423.H752. The majority of this volume is devoted to biography , written by Rosamund Strode, with a chapter covering Imogen’ s musical style written by Christopher Tinker. Includes a catalog of works and ﬁfty-six illustrations.

206.

Ottaway , Hugh. “Holst, Imogen.” In New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, vol. 8, p. 666. NewYork: St. Martin’s Press, 1981. ML100.N6. Biographical proﬁle and selected list of writings.

207. Strode, Rosamund. “Holst, Imogen Clare (1907–1984).” Oxford Dictionary of National Biography . http://www.oxforddnb.com/view/article/ 31251?docPos=2 (accessed June 5, 2010). Biographical sketch, list of sources, archives, and likenesses, and a “wealth at death” sum from probate records. The sketch is accompanied by a reproduction of the Mary Potter oil portrait of Imogen. Articles 208.

Miss “ Imogen Holst: Contribution to English Musical Life.” Times (London), no. 61778 (March 10, 1984). Obituary.

209. “Woman’s Hour: Imogen Holst.” BBC Radio 4. http://www.bbc.co.uk/ radio4/womanshour/01/2007_34_wed.shtml (accessed June 5, 2010). Summary of a Woman’s Hour program segment featuring Imogen Holst on the occasion of the publication of Christopher Grogan’s biography of Imogen. 210.

Aston,Peter. “Carrying on a Tradition.” Choir & Or gan 5, no. 3 (May–June 1997): 48–50. The author interviews Rosamund Strode, chairman of the Holst Foundation, about Imogen Holst’s life and career.

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211.

Chissell, Joan. “Dartington.” Musical Times 91, no. 1291 (September 1950): 337–341. Traces the development of Dartington Hall and its art department. Imogen’s activities at Dartington, including organization of a music training course, were similar to those of her father’s at Morley College.

212. Mitchell, Jon C. “Imogen Holst’ s the Unfortunate Traveller.” “In Kongressberichte Bad W altersdorf/Steiermark 2000; Lana/Südtir ol 2002, pp. 61–74. 2003. A descriptive analysis of the work by Imogen Holst is preceded by biographical details. Includes discussion of the Gustav Holst concert in memory of Dr. Lediard (February 12, 1933) where Imogen conducted the work. The manuscript was lost for over sixty years and is now housed at the Holst Foundation. 213.

trode, S Rosamund. “Holst, Imogen Clare (1907–1984).” Oxford Dictionary of National Biography. http://www.oxforddnb.com/view/article/31251 (accessed May 10, 2010).

214. Thomson, J. M. “Imogen Holst (1907–1984).” (November 1984): 583.

Early Music 12, no. 4

Obituary. Includes a photograph of Miss Holst in her later years. 215. Tinker, Christopher. “Imogen Holst’s Music, 1962–84.” Tempo, no. 166 (September 1988): 22–27. A discussion of Imogen’ s career as composer and her musical style. Although Imogen’s work is chieﬂy known through her arrangements, many of her original works exhibit a high degree of quality andcreativity. Includes musical examples. 216.

aughan V Williams, Ursula. “PRS Proﬁle 3: Imogen Holst.” Performing Right (April 1966): 12–13. Biographical sketch and portrait.

Dissertation 217. Tinker, Christopher G. “The Musical Output of Imogen Holst.” Ph.D., University of Lancaster, 1990. 426 p. A discussion of Imogen’s compositional style and catalog of works. Emil von Holst [Ernest Cossart] (brother) 218.

“ErnestCossart.” Wikipedia. http://en.wikipedia.org/wiki/Ernest_Cossart (accessed June 5, 2010.

Bibliography

71

Emil von Holst chose the stage name “Ernest Cossart” for his acting career. The Wikipedia article contains a portrait and links to biographical and performance information. The biographical material found on Allmovie (http://allmovie.com) contains a brief biographical sketch, but does not mention the Holst connection. There are lists of von Holst’ s/ Cossart’s productions on the Internet Movie Database (http://imdb.com) and Internet Broadway Database (www.ibdb.com) websites. Matthias R. von Holst (half-brother) 219. Von Holst, Matthias R. “Gustav Holst.” Music & Letters 32, no. 3 (July 1951): 302–303. This letter to the editor from Holst’s half-brother speaks about the origin of Holst’s religious ideas and the real cause of the pain in his arm. Edward von Holst (nephew) 220.

“Edwardvon Holst.” Chicago Sun-Times, (July 18, 1992). Obituary. Edward von Holst, the nephew of Gustav , was the son of Gustav’s half-brother Thorley. Edward was a long-time music educator in Illinois.

221. Holst, Edward von. “Gustav Holst Centennial: Recollections.” Pan Pipes of Sigma Alpha Iota 66, no. 3 (March 1974): 19. Holst’s nephew, a cellist, conductor, and music educator, provides his recollections of his uncle for the centenary of Gustav’s birth. He gives some background information on the “American” branch of the Holst family and thoughts on Holst’s lifelong love of teaching. Theodore Richard Edward von Holst (great-uncle) 222.

Browne,Max. “Holst, Theodor Richard Edward Von (1810–1844).” Oxford Dictionary of National Biography . http://www.oxforddnb.com/ view/article/28353?docPos=3 (accessed June 5, 2010). Gustav Holst was the great-nephew of Theodor, son of Matthias von Holst and Katharina Rogge. He was a literary painter and illustrator . Includes bibliography, list of portraits, and an estimate of wealth at death.

Matthias von Holst (great-grandfather) 223.

McGraw , Cameron. Piano Duet Repertoire : Music Originally Written for One Piano, Four Hands . Bloomington: Indiana University Press, 1981. xxxix, 334 p. ISBN 0253147662. ML 128.P3 1981.

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Includes information about Atalanta, a piano duet by Matthias von Holst, published in 1805. It is described as “weak in thematic interest and development” (p. 128). Places associated with Holst 224. Norris, Gerald. A Musical Gazetteer of Great Britain & Ireland. Newton Abbot, Devon: David & Charles, 1981. 352 p. ISBN 0715378457. ML 285.N67 1981. Contains information on Holst’ s connections to Great Easton, Thaxted, Barnes, Chelsea, Ealing, Richmond, Chichester , Bourton-on-the-Water, Cheltenham. Includes photographs of Holst’s birthplace (now the Gustav Holst Birthplace Museum), his house in Barnes, and of Holst (1934). 225. Stradling, Robert. “England’ s Glory: Sensibilities of Place in English Music, 1900–1950.” In The Place of Music , edited by Andrew Leyshon, David Matless, George Revill, pp. 176–196. New York: Guilford, 1998. ISBN 1572303131. ML 3795.P58 1998. The sense of place has always been important in English music. The geography of the Severn region has inﬂuenced the development and creativity of composers such as Holst. Includes map. America 226.

Eaton, Quaintance. “Gustav Holst, on America Visit Approves Our Way.” Musical America 52, no. 3 (February 10, 1932): 6. Interview with Holst.

227.

Kenyon,Nicholas. “News in Brief.” Times (London), no. 43813 (November 19, 1924). Includes the announcement that Yale University has awarded its Howland Memorial Prize to Holst for achievements in the ﬁne arts.

Barnes 228.

“Plaque to Holst.” Times (London), no. 55671 (April 9, 1963). Reports that a plaque is to be unveiled at 10The Terrace in Barnes, where Holst lived from 1908 to 1913.

229. “Residential Property: A Glimpse into Gustav Holst’s Private Universe.” Times (London), no. 61968 (October 24, 1984). The featured property for sale in Barnes was a house owned by Holst from 1908 to 1913. Includes a photograph of the house.

Bibliography

230.

73

France,John. “Holst: An Enigmatic Variation.” MusicWeb International. http://www.musicweb-international.com/classrev/2006/Aug06/Holst_ France.htm (accessed June 5, 2010). France recalls his visit to Hammersmith and the Blue Anchor pub, where a sign notes that “Gustave [sic] Holst wrote hisHammersmith Suite within this pub.” The author attempts to unravel the enigma of the “Hammer smith Suite”—was it the familiar Hammersmith: Prelude and Scherzo or an interesting new discovery?

231. Francke, Donald. “Memories of Holst’ s Music in Barnes and Hammer smith.” RCM Magazine 80, no. 3 (1984): 130–132. Recalls two events connected with Barnes and Hammersmith: the 1964 productions of Savitri and At the Boar’s Head and the 1963 revival of The Wandering Scholar, both produced by Frederick Wilkinson. Francke was a performer in both. He ends the article with a discussion of the plaque marking Holst’s residence at No. 10, The Terrace in Barnes (1908–1913). The article is accompanied by a reproduction of a photograph of Imogen Holst and Herbert Howells at the plaque unveiling. Cheltenham 232.

“New English Music: Holst Honoured.” Times (London), no. 51422 (July 1, 1949). Reports the unveiling of the plaque on Holst’s birthplace in Cheltenham.

Holst Festival, Cheltenham (1927) 233.

“GustavHolst Concerts at Cheltenham.” Times (London), no. 44523 (March 7, 1927). Announcement of the Holst festival concerts to be held in his hometown of Cheltenham, March 22, 1927.

234.

“GustavHolst Honoured: Cheltenham Festival.” Times (London), no. 44537 (March 23, 1927). Review of the Holst festival concerts held in his hometown of Cheltenham, March 22, 1927

235. Capell, Richard. “Holst Festival at Cheltenham.” Record 57, no. 677 (February 1927): 138.

Monthly Musical

Review of concerts in honor of Holst, performed by the Birmingham Symphony Orchestra in Holst’s hometown of Cheltenham on March 22, 1927. The program included the Somerset Rhapsody, “Ballet Music”

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from The Perfect Fool, A Fugal Concerto, Two Songs without Words, and The Planets. 236. Nicholls, Heller. “Holst Festival at Cheltenham.” Review of Reviews 74, no. 447 (April–May 1927): 364–366. Includes a summary of a speech given by Holst and recap of festival events. Cranham 237.

“Cranham.”Stroud District Council. http://www.stroud.gov.uk/docs/ community/parishes/cranham.asp (accessed June 5, 2010). A description of the village where Holst wrote the tune for In the Bleak Midwinter at Midwinter Cottage. No illustrations.

Egdon Heath 238. Price, Bernard. “Gustav Holst and Egdon Heath.” InCreative Landscapes of the British Isles: Writers, Painters, and Composers and Their Inspiration, pp. 120. London: Ebury Press, 1983. ISBN 0852232756. DA 600. P68 1983. Describes the inﬂuence of the barren landscape of Egdon Heath and novelist Thomas Hardy. Gloucestershire 239.

“Madein Gloucestershire.” http://www.bbc.co.uk/gloucestershire/content/articles/2008/04/11/made_in_england_introduction_feature.shtml (accessed June 5, 2010). Summarizes Gloucestershire’s contributions to music, literature, and arts and crafts and is part of a larger initiative to explore how the idea of England is expressed through the arts. Holst is included, as is a picture of the Holst statue in Cheltenham.

240.

Pound,Jeremy. “Musical Destinations: Gloucestershire.” BBC Music Magazine 16, no. 11 (July 2008): 48–49. Gloucestershire has provided inspiration and has been home to several composers, including Holst,Vaughan Williams, Gerald Finzi, IvorGurney, and Herbert Howells. The Holst Birthplace Museum in Cheltenham is one of the featured destinations in the article. Includes map and several illustrations.

Gregynog 241.

“MidWales: Gregynog.” BBC Wales. http://www.bbc.co.uk/wales/mid/ sites/gregynog_festival/ (accessed June 5, 2010).

Bibliography

75

This page contains information about Gregynog, home of the Gregynog Music Festival. The festival was founded by sisters Gwendoline and Margaret Davies, heirs to a lar ge coal fortune. Holst and Vaughan Williams were some of the musicians associated with the festival. The page features links to the history of the Gregynog estate, the festival, biographical proﬁle of the Davies sisters, and more. 242.

Gibbs,Alan. “Holst and Gregynog.” Music Review 55, no. 1 (February 1994): 23–36. The part-song O Spiritual Pilgrim carries the brief dedication “For Gregynog.” This article gives background material on Gregynog, an estate located in Aberystwyth that became a center of musical activity . Holst visited Gregynog in 1933 for the ﬁrst Festival of Music and Poetry, and made sketches for the part-song.

Salonica 243.

“BritishMusic in Salonica.” Musical Standard 13, no. 304 (May 10, 1919): 157. Reprint, Musical Times (June 1919): 311–312. A summary of musical activities or ganized by Holst and others for the troops.

244. Vowles, William. “Gustav Holst with the Army (Salonica and Constantinople, 1919).” Musical Times 75, no. 1099 (September 1934): 794–795. The author recounts meeting Holst while working with the YMCA and the British Expeditionary Forces in Salonica and Constantinople. Thaxted 245.

“Holst’ s Village of Song.” http://www.bbc.co.uk/essex/content/articles/ 2009/03/03/thaxted_holst_feature.shtml (accessed June 5, 2010). A description, in words and pictures, of Holst’ s connections to Thaxted. Includes media clips.

246. “I Ring for the General Dance.” Journal of the English Folk Dance and Song Society 6, no. 1 (December 1949): 20–21. This essay examines the inﬂuence of the English town Thaxted on Gustav Holst and his orchestral suiteThe Planets, written in a nearby cottage.The title of the essay refers to the “Fellowship Bell” (that shares an inscription with the essay title) decorated with a frieze depicting English traditional dance. Includes photographs of the church bells. 247. “I Ring for the General Dance: Gustav Holst and Thaxted.” http://www. foxearth.org.uk/holst.html (accessed June 5, 2010).

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Detailed description of Holst’s life and activities in Thaxted. Includes a rare photograph of Isobel Holst and a description of each movement of The Planets. 248.

“RuralRoads in Northern Essex.” http://www.rural-roads.co.uk/essex/ essex1_2.shtml (accessed June 5, 2010). Provides photographs of Thaxted, including one of the house where Holst lived.

249.

Holst, Imogen. “Gustav Holst and Thaxted.” Thaxted Bulletin (spring 1974). A short account of the composer ’s association with the town of Thaxted between 1913 and 1925. Also printed separately as a pamphlet in 1995.

250. Hopkins, José. “A Proprietary Chapel Or gan, a Place and a Planet.” Organists’ Review 94, no. 4 (November 2008): 51–52. The connecting thread between the items in the article’s title is Thaxted— the village where Holst worked on his orchestral suite,The Planets. Holst often played on the organ in the Church of St. John the Baptist, Our Lady and St. Lawrence in Thaxted. Includes anecdotes by local residents about Holst’s organ playing and a color picture of the organ. Whitsuntide Festivals 251.

“TheWhitsun Festival at Thaxted.” Morley College Magazine 26, no. 1 (September–October 1916): 9–11. Recap of festival events.

252.

oHpe, T. M. “Thaxted: The Whitsuntide Singers.” In An Essex Pie , pp. 151–152. Colchester: Benham, 1951. DA 670.E14 H67 1951. This collection of writings about Essex includes an extract from Imogen Holst’s Gustav Holst (1938) about the ﬁrst Whitsuntide Festival held in 1916.

People associated with Holst Former students Armstrong, Thomas 253.

Armstrong,Thomas. “Mr. Holst.” Music in Education 38, no. 368 (July–August 1974): 163–165. One of Holst’s students discusses Holst’s achievements.

Bibliography

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Carter, Elliott 254. Brandt, William E. “The Music of Elliott Carter: Simultaneity and Complexity.” Music Educators Journal 60, no. 9 (May 1974): 24–32. Brieﬂy mentions Carter’s studies with Holst, who was visiting professor of composition at Harvard at the time. 255. Goldman, Richard Franko. “The Music of Elliott Carter Quarterly 43, no. 2 (April 1957): 151–170.

.” Musical

Brief remarks on composer Elliott Carter’s studies with Holst at Harvard. Harris, Joan 256. Harris, Joan. “Some Memories of Gustav Holst at St. Paul’s.” Composer, no. 52 (summer 1974): 17–18. Reprinted from Making Music, no. 55 (summer 1964): 7–8. Harris, a former student of Holst at St. Paul’ s Girls’ School, provides a few memories of music lessons and performances. Joseph, Jane M. 257. Gibbs, Alan. “The Music of Jane Joseph.” Tempo, no. 209 (July 1999): 14–18. Features a biographical sketch and discussion of the inﬂuence of Holst on his student Jane Marian Joseph (1894–1928), described as “the best girl pupil I ever had” (p. 14). Rubbra ,Edmund 258. Evans, Edwin. “Modern British Composers (New Series): II. Edmund Rubbra.” Musical Times 86, no. 1224 (February 1945): 41–45. Brieﬂy mentions Rubbra’ s two connections with Holst—as Rubbra’ s teacher at Reading University and as dedicatee of the third movement (“Prelude and Fugue”) of Rubbra’s Sinfonia Concertante. 259.

Grover , Ralph Scott. The Music of Edmund Rubbra. Aldershot; Brookﬁeld, VT: Scolar Press; Ashgate Pub. Co, 1993. xvii, 625 p. ISBN 0859679101. ML 410.R886 G7 1993. Holst was one of Rubbra’ s teachers at the Royal College of Music. The ﬁrst chapter, “An Essay in Autobiography” includes discussion of their experience; there are other briefer discussions of Holst in connection with the music survey, which forms the majority of the book.

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260. Rubbra, Edmund. “Sir Adrian Boult (Born April 8, 1889).” Musical Times 100, no. 1394 (April 1959): 204. Rubbra’s recollections of Boult as conductor and champion of Holst. Miscellaneous 261.

C.“An Appreciation of Gustav Holst.” Morley College Magazine 20, no. 2 (November 1934): 27–28. A former student at Morley College describes Holst’ s enthusiasm and musical knowledge.

Colleagues and friends 262.

Gibbs, Alan. Holst Among Friends. London: Thames, 2000. 195 p. ISBN 090521059X. ML 410.H748 G53 2000. A study of Holst in the context of his many activities and acquaintances. Chapters cover his Cotswold encounters, student and colleague Jane Joseph, the Whitsun Festivals, his Welsh visits, and ﬁnally Vally Lasker and some other friends. Portions of the text have previously appeared in The Music Review (chapter 6) and Tempo (portions of chapter 2). Musical examples and a selection of illustrations enhance the text. Includes index, but no bibliography (although chapters are heavily footnoted). Gibbs also includes a brief corrigenda to Holst’s Music: A Guide (see no. 193).

Bax, Arnold 263.

Foreman, Lewis. Bax: A Composer and His Times. London: Scolar Press, 1983. xvii, 491 p. ISBN 0859676439. ML 410.B275 F6 1983. A biography of composer Arnold Bax. Includes some discussion of Holst; however, while Holst was part of a circle that included Arnold, he was a greater friend of Arnold’s brother Clifford.

Bax, Clifford 264.

Bax,Clifford. “Gustav Holst.” In Ideas and People, pp. 53–66. London: Lovat Dickson, 1936. 296 p. PR 6003.A987 I3 1936. Bax provides addition of time spent with Holst, including several visits with him near the end of Holst’s life.

265. Bax, Clifford. “Recollections of Gustav Holst.” Music & Letters 20, no. 1 (January 1939): 1–6. Reminiscences of Holst’s friend, Clifford Bax (brother of the composer Arnold Bax) written to mark the publication of Imogen Holst’s biography of her father.

Bibliography

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266. Bax, Clifford. “Spain, Balfour Gardiner—Arnold Bax—Gustav Holst.” In Inland Far: A Book of Thoughts and Impressions, pp. 204–220. London: Heinemann, 1925. PR 6003.A987 I6 1925. Describes a trip to Mallorca in 1913. Clifford Bax was accompanied by his brother Arnold, Balfour Gardiner, and Holst on the month-long trip. Bliss, Arthur 267.

Bliss,Arthur. As I Remember . London: Faber , 1970. 269 p. ISBN 0571092829. ML 410.B644 A3. Bliss shares his recollections of Holst: their ﬁrst meeting at Brook Green, on the same boat to America in 1923, and Bliss’s productions of Holst’s opera Savitri at the Lyric Theatre. He notes that each encounter is “indelibly engraved on my memory by some short pithy statement that he made” (p. 65).

Boult, Adrian 268.

Boult, Adrian. “Gustav Holst.” RCM Magazine 70, no. 2 (1974): 52–54. Boult shares his recollections of a lifetime of friendship with Holst: their early correspondence and meeting, conducting the ﬁrst private performance of The Planets, and other activities.

269.

Boult,Adrian. Music and Friends: Seven Decades of Letters to Adrian Boult from Elgar, Vaughan Williams, Holst, Bruno Walter, Yehudi Menuhin and Other Friends , edited by Jerrold Northrop Moore. London: H. Hamilton, 1979. 207 p. ISBN 0241101786. ML 422.B79 A4 1979. This collection of correspondence includes selected letters between Boult, Gustav, and Imogen. The volume also includes a facsimile reproduction of the canon Holst wrote in honor of Boult’ s wedding ( Come Live with Me, H189).

270.

Boult,Adrian. My Own Trumpet. London: H. Hamilton, 1973. 213 p. ISBN 0241024455. ML 422.B79 A3. Recollections of Holst appear throughout this volume. Also included is a list of Boult’s ﬁrst performances of Holst works: Lyric Movement, Fugal Concerto, and Scherzo.

271.

Kennedy , Michael. Adrian Boult. London: H. Hamilton, 1987. x, 342 p. ISBN 0241120713. ML 422.B79 K4 1987. There is much mention of Holst throughout the book, including his ﬁrst meeting with Holst, his recordings and performances of Holst’ s music. Chapter 10 contains information about The Planets, with a discussion of tempi in the work.

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272.

Simeone,Nigel and Simon Mundy. Sir Adrian Boult, Companion of Honour: A Tribute. Great Performers. Tunbridge Wells: Midas Books, 1980. 96 p. ISBN 0859362124. ML 422.B79. The tribute by L yndon Jenkins includes anecdotes regarding Holst and The Planets. The discography includes a list of recordings of Holst’ s music conducted by Boult.

Evans, Edwin 273.

Evans,Edwin. “Gustav Holst.” Dominant 1, no. 6 (April 1928): 24–25. Evans reminisces about his acquaintance with Holst. accompanied by a sketch of Holst by Powys Evans.

The article is

Geehl, Henry 274.

Geehl,Henry. “The Unrecognised Arranger.” The Conductor 5, no. 8 (April 1960): 3. Henry Geehl, arranger of music for military band, provides an opening salvo that sets the tone for this article. He noted that it is “unfair … that, until recent years, the name of the arranger … has never been shown on the printed score. Thus the composer of a work may gather unto himself all the ‘kudos’ while the expert work of the arranger is entirely ignored.” (p. 3). Geehl terms Holst a “difﬁcult” composer, as illustrated by Geehl’s recollections of a situation regarding the orchestration of A Moorside Suite.

Gray, Frances Ralph 275.

Gray , Frances Ralph. And Gladly Wolde He Lerne and Gladly T eche— Chaucer: A Book About Learning and T eaching. London: S. Low , Marston, 1931. vi, 284 p. LF 797.L8 S344 1931. Frances Gray served as the Headmistress of St. Paul’ s Girls’ School and hired Holst initially to teach singing. She provides recollections of Holst’s contributions, including starting an orchestra, the composition of the masque The Vision of Dame Christian, and Holst’s music room.

276. Gray, Frances Ralph. “Mr. Holst: Musician and Friend.” Times (London), no. 46768 (May 31, 1934). Memories of Holst by Gray and George Bell. Grew, Sydney 277.

rGew, Sydney. “Gustav Holst.” In Our Favourite Musicians, from Stanford to Holbrooke, pp. 179–204. Edinburgh: T. N. Foulis, 1922. ML 390.G83 F2.

Bibliography

81

Grew recalls meeting Holst in 1910 and provides anecdotes about several of Holst’s major works. The chapter is accompanied by a photograph of Holst (by Herbert Lambert). Hart, Fritz 278.

Hall, Dale E. “Fritz Hart and the Honolulu Symphony.” Hawaiian Journal of History 29 (1995): 163–178. British composer (and music director of the Honolulu Symphony) Fritz Hart (1874–1949) was a classmate of Holst and Ralph Vaughan Williams at the Royal College of Music. The biographical sketch includes an anecdote regarding the three in a student orchestral concert.

279. Hart, Fritz. “Early Memories of Gustav Holst.” parts 1 and 2. Magazine 39, no. 2 (1943): 43–52; 39 no. 3, pp. 84–89.

RCM

An wide-ranging set of reminiscences by Holst’ s fellow student at the Royal College of Music. Among Hart’s recollections are their collaboration on dramatic works ( The Revoke, The Idea, Ianthe, The Magic Mir ror), their experiences with Sir Charles Villiers Stanford at the Royal College of Music, Holst in Hammersmith (including the need to go out to the Cotswold hills to practice trombone instead of his cramped living quarters, and his activities in the Socialist Club), as godfather to Imogen, the opera Sita, and Holst’s sense of humor. Howells, Herbert 280.

Palmer , Larry. “Herbert Howells’ Lambert’s Clavichord.” Diapason 66, no. 1 (December 1974): 7–8. Records an anecdote regarding Holst’ s reaction to a performance of the “Hughes’ Ballet” movement of Lambert’s Clavichord, a suite of piano pieces.

Ireland, John 281.

Ireland, John. “Tributes to Vaughan Williams.” The Musical Times 99, no. 1388 (October 1958): 535–539. As part of his tribute to Vaughan Williams, composer John Ireland shares a reminiscence of his student days at the Royal College of Music with fellow classmates Thomas Dunhill, Ralph Vaughan Williams, and Holst while gathered at a tea shop in Kensington.

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Nutting, Dulcie 282.

Lu cas, Roger. “Dulcie Nutting Talks to Roger Lucas About Gustav Holst.” Morley College Magazine More 3 (summer 1976): 4–7. Reminiscences of one of Holst’s Morley College colleagues.

Shore, Bernard 283.

Sho re, Bernard. “Holst (1874–1934).” In Sixteen Symphonies, pp. 304–311. London: Longmans, Green, 1949. MT 125.S47. The survey of Holst’s career is interspersed with the author ’s commentary—as an orchestral violist, he offers several anecdotes and insight into some of Holst’s pieces. He offers an interesting theory as to the “failure” of Holst’s First Choral Symphony, for example.

284.

Shore, Bernard. “Modern Music.” In The Orchestra Speaks, pp. 129–148. London: Longmans, Green, 1946. ML 402.S46. Shore, an orchestral violist, remarks on Holst’s knowledge of the orchestra, Holst’s music (“exciting to play”), and his conducting technique (“completely efﬁcient”).

Tippett, Michael 285.

ippett, T Michael. Those Twentieth Century Blues: An Autobiography. London: Hutchinson, 1991. xiii, 290 p. ISBN 0091753074. ML 410. T467 1991. Describes Tippett’s encounter with Holst while Tippett was a conducting student of Sir Malcolm Sargent.

Vaughan Williams, Ralph 286.

Hef fer, Simon. Vaughan Williams. London: Weidenfeld & Nicolson, 2000. 152 p. ISBN 0297643983. Also published: Boston, MA: Northeastern University Press, 2001. ISBN 1555534724. ML 410.V3 H45 2000. This survey of the life and works of Vaughan Williams includes a discussion of the role of friends Geor ge Butterworth and Holst played in Vaughan Williams’s career.

287. Vaughan Williams, Ralph. “Gustav Holst: An Essay and a Note.” In National Music and Other Essays, 2nd ed., pp. 129–153. Oxford: Oxford University Press, 1987. ISBN 0192840169. Reprinted in: Some Thoughts on Beethoven’s Choral Symphony , with W ritings on Other Musical Subjects, pp. 64–98. London: New York, Oxford University Press, 1953. ML 60.V288 1987.

Bibliography

Reprint of the 1920 Music & Letters (“Essay”) and the 1934 Magazine (“Note”) articles.

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RCM

288. Vaughan Williams, Ralph. “Gustav Holst, Man and Musician.” RCM Magazine 30, no. 3 (December 1934): 78–80. Reprinted as: “A Note on Gustav Holst.” InGustav Holst, edited by Imogen Holst, pp. vii–ix. London: Oxford University Press, 1938. ML 410.H748 H6; Vaughan Williams on Music, edited by David Manning, pp. 301–302. Oxford: Oxford University Press, 2008. ISBN 0195182392. ML 60.V285 2008. One of Holst’s closest friends provides remarks on the mystical quality of Holst’s music, his early interest in the ideals of William Morris, the gift of inspiration and his creative life. Partially taken from Morley Magazine. 289.

aughan V Williams, Ursula. RVW: A Biography of Ralph V aughan Williams. London: Oxford University Press, 1964. xiv , 448 p. Reprinted with corrections, 1988. ISBN 0192820826. ML 410.V3 V4. Holst’s friendship with Vaughan Williams is woven throughout the central portion of this biography of Vaughan William. Includes a photograph of Holst and Vaughan Williams on one of their country walks.

Whittaker, W. G. 290. Borthwick, M. C. “In the Swim: The Life and Musical Achievements of William Gilles Whittaker, 1876–1944.” Ph.D. diss., Durham University, 2007. Survey of musical life and achievements of Holst’s friend, who served as a musical editor for Oxford University Press, musical advisor to the BBC, and director of the Newcastle Bach Choir. Wilkinson, Frederick 291. Wilkinson, Frederick. “Gustav Holst As a Friend.” RCM Magazine 70, no. 2 (1974): 54–57. Wilkinson recalls his friendship with Holst, memories of producing several of Holst’s operas, and of securing a commemorative plaque (and its unveiling) for Holst’s former residence in Barnes. Wood, Henry J. 292.

Jacobs, Arthur. Henry J. Wood: Maker of the Pr oms. London: Methuen, 1995. xxii, 504 p. ISBN 0413693406. ML 422.W86 J33 1994. Includes several mentions of Holst, one of which refutes a recollection of Wood regarding Holst—that he sent the ﬁrst trombonist for a week’ s

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holiday in Margate when he became ill (Holst was still a student at the time). Also discusses various performances of The Planets. Memorials and anniversaries Memorials Gustav Holst Music Room (Morley College Music Room) 293. “Holst’s Music at Canterbury: Memorial Concert in the Cloisters.” Times (London), no. 47410 (June 25, 1936). Review of a concert to commemorate Holst and to raise funds for the Morley College memorial. 294.

“Memorial to Holst.” Times (London), no. 47001 (March 1, 1935). Announces a proposal to equip a music room at Morley College as a tribute to Holst. Vaughan Williams was named the chair of the appeal committee.

295.

aughan V Williams, Ralph. “Correspondence.” Monthly Musical Record 65, no. 766 (May 1935): 57–60. Seeks contributions to support the set-up of the Gustav Holst Music Room at Morley College.

296.

aughan V Williams, Ralph. “Correspondence.” Music & Letters 16, no. 3 (July 1935): 239. Solicitation for the establishment of a memorial fund at Morley College to fund the proposed Gustav Holst Music Room, to be situated in the college’s new wing.

297. Vaughan Williams, Ralph. “Gustav Holst Memorial.” Musical Times 76, no. 1106 (April 1935): 349. An appeal for funds to establish a memorial to Holst, at Morley College— the “Gustav Holst Music Room.” 298. Vaughan Williams, Ralph. “The Holst Music Room.” Magazine 22, no. 6 (March 1937): 12–13.

Morley College

A description of the Holst memorial music room at Morley College. 299. Western, Joan D. L. “Holst Music Room.” Morley Magazine College Pie (November 1935): 34. Not available for examination. According to the entry in Michael Short’s Gustav Holst: A Centenary Documentation, plans for the Holst memorial music room are given.

Bibliography

85

Gustav Holst Music Wing (St. Paul’s Girls’ School) 300.

“St. Paul’s Girls’ School.” http://www.spgs.org/index.php (accessed June 5, 2010). Includes a description of the newly remodeled Gustav Holst MusicWing. The school’s history page includes a short description of Holst’s activities there.

Holst Birthplace Museum 301. The Holst Birthplace Museum: Clar ence Road, Cheltenham, Gloucestershire. Cheltenham: Holst Birthplace Museum, 1992. 13 p. ML 410. H65 H6 Description of the house where Holst lived for the ﬁrst seven years of his life. 302.

“Appealfor Holst Centenary Museum.” Times (London), no. 59202 (December 7, 1974). Announcement of the appeal launched by Sir Arthur Bliss to purchase Holst’s birthplace in Cheltenham to use for a museum.

303.

“Holst Birthplace Museum Appeal.” Tempo 57, no. 224 (April 2003): 68. An announcement of the launch of an appeal to create an endowment fund to secure the long-term viability of the Holst Birthplace Museum in Cheltenham.

304.

“HolstMuseum in Cash Crisis.” BBC Music Magazine 12, no. 1 (September 2003): 9. Reports that the Holst Museum is in danger of closure due to lack of oper ating funds. The museum’s struggles are compared to the national neglect of music in schools and general culture.

305.

“LloydWebber to Help Save Museum.” BBC News. http://news.bbc. co.uk/2/hi/uk_news/england/gloucestershire/3744463.stm (accessed June 5, 2010). Cellist Julian Lloyd Webber will perform Holst’s Invocation at a concert to raise money to preserve the Holst Birthplace Museum.

306. Kay, Brian. “Brian Kay’s Flavour of the Month: Safe As Houses but Only Just.” BBC Music Magazine 9, no. 1 (September 2000): 110. The threat to close the Holst Museum has been averted by the house’ purchase by the Holst Museum Trust. 307.

s

isle, L Nicola. “Travel: Out and About.” Music Teacher 83, no. 2 (February 2004): 20–21.

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Suggests a number of ﬁeld trip destinations for the music student, including the Holst Birthplace Museum in Cheltenham and the Elgar Birthplace Museum near Worcester. 308.

Marks,L. C. “Holst’s Birthplace.” Musical Times 99, no. 1386 (August 1958): 433. Letter from a former Holst student urging visitors to Cheltenham to visit Holst’s birthplace.

309. Sadie, Julie Anne. “At Home with Gustav Holst.” Gramophone 72 (January 1995): 10. Description of the restored Holst Birthplace Museum, where the Holst family lived from 1874–1882. Includes brief remarks on the Holst festival (March 1927) and a small picture of Holst’s music room with his piano. 310.

W ard, David. “Museum Where Holst Wrote The Planets in Crisis.” The Guardian, (May 29, 2003). http://www.guardian.co.uk/uk/2003/may/29/ arts.education/print (accessed June 5, 2010). Describes the current threat to the stability of the Birthplace Museum in Cheltenham; while the house is owned by the Holst Birthplace Trust, most of the items in the museum belong to the Cheltenham council.

Holst Memorial Fountain 311.

“Announcements.”Classical Music, no. 858 (February 2008): 11. Announces the unveiling of statue of Gustav Holst in his hometown of Cheltenham. The statue, by sculptor Anthony Stones, is located in a spot close to where a landmark 1927 concert of Holst’s music took place.

312. “Bronze Holst Statue Is Unveiled.” BBC News. http://news.bbc.co.uk/2/ hi/uk_news/england/gloucestershire/7329398.stm (accessed June 5, 2010). Reports on the unveiling ceremony for the Holst statue, situated in the Imperial Gardens, Cheltenham. Includes a color picture of the statue and short video clip. 313.

“Hamond Bequest: Holst Memorial Fountain.” Cheltenham Civic Society. http://www.cheltenhamcivicsociety.org.uk/ (accessed June 5, 2010). Background information on the Holst Memorial Fountain in Cheltenham. A statue of Gustav stands at the top of the fountain and was sculpted by Anthony Stones. The octagonal plinth depicts the planets. A bequest from Miss Elizabeth Hamond was used to fund the memorial. Includes two views of the memorial and a video clip of the memorial unveiling.

Bibliography

314.

87

“HolstStatue.” Cheltenham Borough Council. http://www.cheltenham. gov.uk/site/scripts/documents_info.php?documentID=348&pageNum ber=2 (accessed June 5, 2010). An announcement of the unveiling of the Holst Statue in Imperial Gardens, Cheltenham. Includes a photo of the statue and additional information on the park.

315.

“Statueof Composer Commissioned.” http://news.bbc.co.uk/2/hi/uk_ news/england/gloucestershire/6333065.stm (accessed June 5, 2010). Announcement of the commission for a statue to honor Holst in his hometown, Cheltenham.

316. Cheltenham Civic Society. “Mark Elder to Unveil Gustav Holst Statue on April 4th.” MusicWeb International. http://www.musicweb-international. com/classrev/2008/Jan08/holst_statue.htm (accessed June 5, 2010). A copy of the ofﬁcial press release for the 2008 event is reprinted here. Includes a description of scheduled events plus a color picture of the statue and its sculptor, Anthony Stones. Anniversaries Centenary (1974) events 317.

“GustavHolst Centenary Concert.” Times (London), no. 59195 (September 18, 1974). Announcement of the Holst centenary concert, September 21, 1974.

318.

Chissell, Joan. “Holst Centenary.” Times (London), no. 59202 (September 26, 1974). Review of the Royal Philharmonic Society concert. The Hymn of Jesus, The Planets, and the Double Concerto were performed.

319.

Cole, Hugo. “Centenaries.” Listener 92, no. 2375 (October 3, 1974): 445. Assessment of several lesser-known works performed as part ofcentenary celebrations.

320.

Holst,Imogen. Gustav Holst, 1874–1934: A Guide to His Centenary . Cambridge: Cambridge Music Shop, 1974. 22 p. ML 134.H75 H6 1974. This slim volume served as a promotional tool for Holst’ s centenary in 1974. Includes lists of upcoming performances and exhibitions, a select list of published music and recordings, brief bibliography , chronology, short extracts from his correspondence, and several illustrations. Of unique interest here is a description of the houses that Holst lived in and notes on well-known portraits and photographs of Holst.

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Gustav Holst: a research and information guide

321.

Mann, William. “Holst Operas and Manfred.” Times (London), no. 59111 (June 10, 1974). Review of performances of Savitri and The Wandering Scholar given at the Aldeburgh Festival for the Holst centenary.

322.

Mann,William. “NPO/Andrew Davis/Imogen Holst, Festival Hall.” Times (London), no. 59199 (September 23, 1974). Review of a centenary tribute concert featuring The Perfect Fool and “Marching Song,” ( Two Songs without W ords) conducted by Imogen Holst. The reviewer poses the question of why there are not more Holst works on a concert in his memory.

323.

Rubbra,Edmund. Gustav Holst: Collected Essays , edited by Stephen Lloyd. London: Triad Press, 1974. 56 p. ISBN 0902070126. ML 410. H748 R93 1974. A collection of eight essays published to mark the centenary of Holst’ s birth. Conductor Vernon Handley provides the introduction. The essays are drawn from articles written by Rubbra that originally appeared in various journals between 1932 and 1949. Details from the original publication of the article are lacking (other than a general statement of the journal titles in the preface); it is also noted that all of essays were revised and two amalgamated for this collection. Some of the works covered in the essays include Rig Veda Hymns, the First Choral Symphony, and The Wandering Scholar.

Miscellaneous 324.

“Holst’ s Music: A School Celebration.” Times (London), no. 51954 (March 20, 1951). Reports three concerts (including two at St. Paul’s Girls’ School) given as a tribute to Holst.

325.

“A Memorial to Holst.” Times (London), no. 46979 (January 28, 1935). Review of a concert of Holst’ s works at Morley College. Vaughan Williams’s remarks include reference to a permanent memorial to be erected at the college.

326.

Rubbra, Edmund. “A Holst Concert.” Monthly Musical Record 62, no. 742 (December 1932): 230. Review of a concert honoring Holst, given by the Music Association.

Teachers’

327. Scott, Marion. “Holst: Cotswold Man and Mystic.” Listener 31, no. 801 (May 18, 1944): 561.

Bibliography

89

Preview of works to be broadcast for the tenth anniversary of Holst’ s death. Scott ﬁnds two facets to Holst: the “Cotswold man” and the “star captain.” These two elements jockey for position in his works and are occasionally united, as in The Planets. Tributes 328. “The Essay: Vaughan Williams in the BBC Archives.” BBC Radio 3. http://www.bbc.co.uk/programmes/b00d3p91 (accessed June 5, 2010). Episode two of the series featured Vaughan Williams’s tribute to Gustav Holst, recorded in 1954. 329.

Evans,Edwin. “Gustav Holst.” Musical Times 75, no. 1097 (July 1934): 593–597. Tribute by one of Holst’s close friends; Evans had met Holst in 1902 and had the opportunity to write several articles about Holst’s life and music.

330. Rubbra, Edmund. “The Musical Vision of Gustav Holst.” Listener 92, no. 2373 (September 19, 1974): 376–377. A centenary review of Holst’s accomplishments. 331. Sarcich, Paul. “The Holst Memorial Symphony?” Journal of the Ralph Vaughan Williams Society, no. 27 (June 2003): 15–17. Speculates that Ralph Vaughan Williams’ Symphony No. 6, a work never fully understood, is really a memorial to his friend Gustav Holst. Several similarities between the symphony and Holst’s The Planets are identiﬁed. 332. Wright, M. Searle. “Gustav Holst: Centennial, 1874–1974.” Music, the AGO and RCCO Magazine 8 (November 1974): 20–22. The author names Holst as “one of the most important ﬁgures in the development of twentieth century English music” (p. 20). This centennial tribute includes remarks on his reputation, various career roles (composer , teacher, trombonist, and church or ganist), hardships in his life, and his relationship with Ralph Vaughan Williams. A list of Holst’s friends and associates (both in England and the US) gives some information about the activities of Holst’s brother Emil (aka “Ernest Cossart”). Also includes a sketch of Holst by Bill Bossert, who has provided an interpretation ofThe Planets on the cover of the journal issue. Career Holst as organist 333.

Gibbs, Alan. “Holst and the Organ.” Organists’ Review 82, no. 1 (February 1996): 15–18.

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A survey of the six organs that Holst is known to have played, including those in All Saints Church in Cheltenham, St. Laurence Church in Wyck Rissington, Crouch Hill Presbyterian Church in London, St. Barnabas Church in London, St. Paul’ s Girls’ School in London, and St. John the Baptist Church in Thaxted. Gibbs also describes Holst’ s early acquaintance with the organ, his organ lessons at the Royal College of Music, and the use of the or gan as an orchestral instrument in The Hymn of Jesus, The Planets, and the Choral Fantasia. Includes a photograph of the St. Laurence Church, Wyck Rissington. 334.

Hartman,James B. “Alternative Organists.” Diapason 95, no. 7 (July 2004): 20–22. Holst receives an “honorable mention” in this list of composers whose connections to the organ are not widely known. Gives brief information on Holst’s organist appointment and notes the inclusion of or gan in the Choral Fantasia.

Holst as trombonist 335.

“Composers’Trombones Played Again.” BBC News. http://news.bbc. co.uk/2/hi/uk_news/england/8153673.stm (accessed June 5, 2010). Video clip about the restoration of trombones belonging to composers Edward Elgar and Gustav Holst.

336.

“Composers’ Trombones Played Again.” BBC News. http://news.bbc.co. uk/2/hi/uk_news/england/bradford/8153504.stm (accessed June 5, 2010). Trombones belonging to composers Edward Elgar and Gustav Holst are being restored at a small factory in West Yorkshire. The instruments had been on display at the Royal College of Music to mark the seventy-ﬁfth anniversary of the death of the composers, which prompted historical trombone expert Sue Addison to make a recording with the instruments. Includes a picture of the instruments.

337.

“Unusual Music Venues: All the World’s a Stage.” BBC Music Magazine 18, no. 1 (October 2009): 42–43. Describes some unorthodox music performances spaces, including the Cotswolds farmer’s ﬁeld where Holst reportedly practiced trombone (until the farmer chased him away).

338. Adams, Stephen. “Gustav Holst’s Trombone ‘Made Sheep Lamb Early’ Archives Show.” Telegraph.co.uk. http://www.telegraph.co.uk/culture/ music/5898362/Gustav-Holsts-trombone-made-sheep-lamb-earlyarchives-show.html (accessed June 5, 2010).

Bibliography

91

A report about the ﬁlm footage found by BBC Gloucestershire journalist David Bailey at the Holst Birthplace Museum. Bailey had been tipped off by a member of the original ﬁlm production company. The quote in the headline refers to remarks made by Edmund Rubbra, regarding Holst’ s trombone practice in the Cotswolds while journeying back and forth from Cheltenham to London on foot. 339. Hogg, Simon and Jeremy Dibb. “The Trombone of Gustav Holst.” Brass Bulletin, no. 88 (1994): 66–69. An overview of Holst’s career as a trombonist; the article was written to commemorate the publication of the recently rediscoveredDuet for Trombone and Organ (1894). Includes a reproduction of the Bernard Munns painting of Holst and a facsimile of the cover of the April 1923 Music Mirror featuring a caricature of Holst carrying his trombone (marked “relic of my youth”) and a suitcase (“New York”). Holst as teacher 340. Joseph, Jane M. “Introductions, 4: Gustav Holst.” Music Bulletin 5, no. 4 (April 1923): 112–115; Reprinted as Compositions of Gustav Holst. New York: H. W. Gray, 1924. 10 p. The author feels that Holst’ s composing and teaching characteristics stem from his family background and early musical posts working with amateurs. The reprint version adds a short biographical sketch. 341.

Reynolds,Gordon. “Service and Freedom.” Music in Education 38, no. 368 (July–August 1974): 161–162. A general discussion of Holst’s teaching career.

342.

Rubb ra, Edmund. “Gustav Holst.” Crescendo, no. 19 (January 1949): 15–17. Rubbra, a former student, writes about Holst’s teaching of composition.

343.

Rubbra,Edmund. “Gustav Holst As Teacher.” Monthly Musical Record 60, no. 715 (May 1930): 199–200. Reminiscences.

344.

Rubbra,Edmund. “Holst the Teacher.” RCM Magazine 30, no. 3 (1930): 83–86. Rubbra describes Holst’s teaching methodology.

345. Whittaker, W. G. “The Use of the Classical Song in School.” Supervisors’ Journal 16, no. 2 (December 1929): 17–67.

Music

Brieﬂy notes the contributions of Holst and other British composers to the school music repertoire.

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Teaching of amateurs 346.

Foster , Arnold. “Holst and the Amateur.” RCM Magazine 30, no. 3 (December 1934): 88–90. Foster describes Holst’s tireless work teaching amateur musicians, par ticularly those attending working-class institutions like Morley College and the Passmore Edwards Settlement.

347.

Grace,Harvey. “Gustav Holst: Teacher.” Musical Times 75, no. 1098 (August 1934): 689–696. A survey of Holst’s teaching career and methods in both formal (Morley College, St. Paul’s Girls School) and informal (amateur choirs, festivals) settings. Includes a reproduction of a postcard sent in his last year with “good wishes for Whitsuntide.”

Reports of Holst’s lectures 348.

“TheEducation of a Composer.” Musical Opinion 48, no. 572 (May 1925): 831–832. Report of the inaugural Alsop lecture delivered by Holst at the University of Liverpool.

349. “English Music in the 18th Century: Mr. Gustav Holst on Choral Styles.” Times (London), no. 44744 (November 21, 1927). Report of a lecture given at the Royal Institution of Great Britain. 350. “English Music: Mr. Gustav Holst on Past Triumphs.” Times (London), no. 44738 (November 14, 1927). Report of a lecture given at Morley College titled “England and Her Music.” 351. “Mr. Holst on English Music: New Factor inTechnique.” Times (London), no. 43235 (January 10, 1923). Report of Holst’s paper “The Tercentenary of William Byrd and Thomas Weelkes” read to the Musical Association. 352.

“The School Orchestra by Gustav Holst.” Music Student 8, no. 6 (February 1916): 166. Report of a lecture given by Holst.

353. “Society of Women Musicians: Reception and Composers’ Conference.” Music Student 12, no. 12 (September 1920): 715. Report of a paper on composers’ education read by Holst.

Bibliography

354.

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C. “Mr. Holst on Purcell.” Musical Times 63, no. 951 (May 1922): 354–355. Report of Holst’ s lecture given at the University College, London on April 8, 1922.

Individual schools JAMES ALLEN GIRLS’ SCHOOL

355.

“HolstArchives.” http://www.jags.org.uk/jags/about/library_archives/ holst_archives/index.html (accessed June 3, 2010). Includes a description of Holst’ s activities at the school, 1904–1920. The school’s collection of Holst materials were damaged slightly by an incendiary bomb in September 1940.

356.

“Reminiscencesof Holst.” http://www.jags.org.uk/jags/about/library_ archives/reminiscences/ (accessed June 3, 2010). Former students provide short remembrances of Holst.

357.

Callard,Dorothy. “Gustav Holst.” James Allen’s Girls’ School Magazine (1934): 61–63. Recalls Holst’s work at the school.

358.

lkin, E Susan. “Holst’s Hundred.” Music Teacher 83, no. 3 (March 2004): 35. A series of Holst events is being planned for 2004, to mark the centenary anniversary of Holst’s service to James Allen Girls’ School. Holst’s classroom method and students’ responses are also discussed.

MORLEY COLLEGE

359.

Richards, Denis. Offspring of the Vic: A History of Morley College. London: Routledge and Paul, 1958. 315 p. LC 5325.M6 R5. A comprehensive survey of the history of Morley College, where Holst taught from 1907 to 1924. There is much discussion of Holst’ s musical activities at the College, especially the impact he made on the music program. The building of the Holst memorial music room is also covered.

Articles 360. “TheComposer of The Planets: Mr. Holst and His Work, a Coming Comic Opera.” The Observer, no. 6757 (November 21, 1920): 7. An interview with Holst covering his work at Morley College and St. Paul’ s Girls’ School.

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361. Eggar, Katherine E. “How They Make Music at Morley College: A Chat with Mr. Holst and a Sight of His Work There.” Music Student 13, no. 6 (March 1921): 359–361. An amusing account of a visit to the college and an interview with Holst. 362.

Foster , Arnold. “An Appreciation of Gustav Holst.” Monthly Musical Record 64, no. 758 (July–August 1934): 126. A description of Holst’s work at Morley College and hisWhitsuntide Festivals at Thaxted. Foster also discusses the inﬂuence of these activities on Holst’s composition.

363. Holst, Imogen. “Holst, the Bringer of Music.” Morley College Magazine 33, no. 1 (1952): 9–11. A discussion of Gustav’s work at Morley College. 364.

Putterill, Jack. “Gustav Holst.” Making Music, no. 86 (autumn 1974): 12. Rev. Jack Putterill met Holst in 1914 when he was persuaded by Holst to join the orchestra and music classes at Morley College. He provides an eyewitness account of Holst’ s activities at Morley College and the formation of the Whitsun Festival at Thaxted, where Putterill served as curate and vicar . Putterill states that the Whitsun Festivals were discontinued after 1917, but that statement is corrected in a letter to the editor in the following issue (no. 88 [summer 1975]: 12; the letter from E. A. K. Ridley notes that the festivals did continue after Holst’ s death, just in different locations).

365. Souper, F. O. “Famous Amateur Orchestras: The Morley College Orchestra.” Strad 44, no. 522 (October 1933): 219–222. Traces the development of the orchestra at Morley College, a school founded in 1889 for the working-class student. The author credits the orchestra’s “pre-eminence and musical importance” to Holst, who had signed on as musical director at the school in 1907. Holst remained at the school until 1923. 366.

Stuart,Charles. “Morley College Music.” Musical Times 92, no. 1303 (September 1951): 393–398. Traces the history of the Morley College music department and public concerts. Holst was appointed director of music there in 1907. Includes a description of the Holst Room.

367.

aughan V Williams, Ralph. “Gustav Holst.” Morley College Magazine 20, no. 2 (November 1934): 26–27. Recalls Holst and his work at Morley College.

Bibliography

368.

95

aughan V Williams, Ralph. “Gustav Holst: Dramatist.” Morley Magazine College Pie (November 1935): 36. Not available for examination. According to the description in Michael Short’s Gustav Holst: A Centenary Documentation , Vaughan Williams recalls two plays written by Holst.

ROYAL COLLEGE OF MUSIC

369. Holst, Imogen. “Holst and the Royal College of Music.” RCM Magazine 52, no. 2 (summer 1974): 49–51. Describes Holst’s association with the school. 370.

Howes,Frank. “Editorial.” RCM Magazine 30, no. 3 (December 1934): 77–78. Provides context for the collection of articles in this issue devoted to the memory of Holst. Howes points out Holst’ s breakthrough contributions to musical education for women, particularly with regard to the Royal College of Music.

ST. PAUL’S GIRLS’ SCHOOL

371. “Twenty Minutes: Holst’s School Days.” BBC Radio 3. http://www.bbc. co.uk/programmes/b00pl6gz (accessed June 5, 2010). This episode featured Petroc Trelawny’s visit to St. Paul’s Girls’ School in Hammersmith, where Holst taught from 1905 until 1934. Includes reminiscences from former student Mar garet Eliot, and remarks from Vaughan Williams (1954), Herbert Howells (1970s), and Imogen Holst. The episode aired on BBC Radio 3, January 15, 2010. 372. Bonnett, Irene. “Mr. Holst in School.” RCM Magazine 30, no. 3 (December 1934): 86–88. Reminiscences by a former student who attended St. Paul’s Girls’ School from 1909 to 1916. 373. Reed, E. M. G. “Music at St. Paul’ s Girls’ School.” Music Teacher 14, no. 6 (March 1922): 318–319. A description of Holst’s activities at the school. 374. Strode, Nancy. “Across the Years: A Personal Recollection of Gustav Holst.” Conductors’ Guild Bulletin (summer 1974) Strode was a student of Holst at St. Paul’s Girls’ School.

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375.

Swann,Irene. “Dear Gussie.” Paulina 153 (1973–74): 13. Reminiscences of her studies with Holst at St. Paul’s Girls’ School.

UNIVERSITY OF READING

376.

robert-Jones, P W. “Gustav Holst.” Tamesis 33, no. 2 (Lent term 1935): 57–60. A description of Holst’s teaching career at the University of Reading.

Holst as conductor Monographs and chapters 377.

oCx, David Vassall. The Henry Wood Proms. London: British Broadcasting Corporation, 1980. 390 p. ISBN 0563176970. ML 286.8.L52 P72 1980. This history of the British Promenade Concerts makes reference to Holst’s involvement with this concert series. Holst conducted his Japanese Suite (1919), three movements of The Planets (1921), The Perfect Fool ballet music (1922), The Planets (1930). The 1934 concert series featured a memorial for the recently deceased Holst, Frederick Delius, and Edward Elgar.

378.

Holm es, John L. “Holst, Gustav.” In Conductors on Record, pp. 286. Westport, CT: Greenwood Press, 1982. ISBN 0313229902. ML105.H732 1982. Includes a brief description of recordings conducted by Holst. The following section covers Imogen Holst, and includes information on her recordings of Gustav’s music.

Articles 379.

“Mr . Holst on Purcell: Dioclesian Performed.” Times (London), no. 43002 (April 10, 1922). Review of Holst conducting a performance of Henry Purcell’s Dioclesian at University College.

380. Darrell, R. D. “Holst in America: An Interview with One of the First Contemporary Composers to Conduct His Own Works for Recording.” Phonograph Monthly Review 6, no. 5 (February 1932): 83–84. Includes some anecdotes regarding Holst conducting the Boston Symphony Orchestra. Holst as composer 381.

Ehrlich,Cyril. Harmonious Alliance: A History of the Performing Right Society. Oxford: Oxford University Press, 1989. x, 183 p. ISBN 0193119242. ML27.G7 P443 1989.

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Although a facsimile of Holst’ s signature ﬁgures prominently on the book jacket illustration of this volume, there are only a few references to Holst (although there are several references to Imogen) in this history of the Performing Right Society. Gustav and Imogen joined the Society in 1926 and 1936, respectively . A table compares the earnings of four representative composers (including Holst) for the years 1927 to 1985. Articles 382. “Composer of the Week: Gustav Holst (1874–1934).” http://www.bbc. co.uk/radio3/cotw/pip/3kvxw/ (accessed June 5, 2010). A ﬁve-program series covering the music of Gustav Holst. Individual programs are devoted to Holst’s early life, inﬂuences (Hindu mythology and Henry Purcell), places (Thaxted and Hammersmith), writing for speciﬁc occasions, and his trips to the United States. 383. “Composer of the Week: Gustav Holst (1874–1934).” Gramophone Archive. http://www.gramophone.net/ComposerOfTheWeek/View/230/ Gustav%20Holst%20%281874-1934%29 (accessed June 5, 2010). Brief biographical and stylistic remarks followed by a list of suggested recordings for St. Paul’s Suite, The Planets, The Hymn of Jesus, Somer set Rhapsody, A Fugal Overture, and Egdon Heath. The recordings are linked to reviews that appear elsewhere in the Gramophone Archive. Brief biographical and stylistic remarks followed by a list of suggested recordings for St. Paul’s Suite. 384. “Composer of the Week: Gustav Holst (1874–1934) and Imogen Holst (1907–1984).” http://www.bbc.co.uk/radio3/cotw/pip/7nsw3/ (accessed June 5, 2010). A ﬁve-program series covering the lives and music of Gustav and Imogen Holst, to mark the centenary of Imogen’s birth. 385.

Grew , Sydney. “Problems Concerning Holst.” parts 1 and 2.British Musician 10, no. 103 (July 1934): 155–156; 10, no. 104 (August 1934): 179–180. The author attempts to reconcile the two opposing aspects of Holst’ character: composer and instructor.

386.

acob, J Gordon. “Holst the Composer.” RCM Magazine 30, no. 3 (December 1934): 81–83. Gives a brief description of Holst’ s output and remarks on Holst’ practical bent and sources of inspiration.

387.

s

s

aughan V Williams, Ralph. “Gustav Holst.” parts 1 and 2.Music & Letters 1, no. 3 (July 1920): 181–190; 1, No. 4 (October 1920): 305–317.

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Makes the argument for Holst to be considered as a “modern” composer. Vaughan Williams deﬁnes modernity as not depending on “certain tricks of diction but on the relationship between the mind that expresses and the means of expression” (p. 181). Includes musical examples and a facsimile of a drawing of Holst by William Rothenstein. Holst in context Monographsand chapters 388.

Flothuis,Marius. Modern British Composers . Stockholm: Continental Book Co., 1950. 60 p. ML 390.F672. Holst is discussed as part of the lar ger “second generation after Elgar” group that includes Arnold Bax, John Ireland, and Frank Bridge. This volume was originally published in Dutch and intended as a guide for concert goers unfamiliar with British composers.

389.

Foreman, Lewis. Music in England, 1885–1920: As Recounted in Hazell’s Annual. London: Thames Pub., 1994. viii, 121 p. ISBN 0905210328. ML 286.M87 1994. Provides a survey of English musical life based on the performing events covered in Hazell’s Annual. Although the author has speciﬁcally excluded the major composers of the English musical renaissance from discussion, the volume provides excellent context and several references to Holst.

390.

Gray , Cecil. “Minor Composers.” In A Survey of Contemporary Music , pp. 240–253. London: Oxford University Press, 1924. ML 197.G7. Gray relegates Holst to the “minor composers” section of his survey . He describes Holst’s music a “compendium or pastiche of the styles of nearly all representative modern composers, which he has equally failed to make his own” (p. 252). Gray singles out Vaughan Williams and Arnold Bax as standouts from the crowd of then-current English composers.

391.

Kendall,Alan. The Chronicle of Classical Music: An Intimate Diary of the Lives and Music of the Great Composers. London: Thames & Hudson, 1994. 288 p. ISBN 0500016275. ML 161.K46 1994. A chronological diary of musical events, useful to place Holst in a larger context. There are several references to Holst, as well as a reproduction of the Woodforde portrait.

392.

Mellers,Wilfrid. “The English Renaissance.” In Music and Society: England and the Eur opean Tradition, 2nd ed., pp. 155–157. London: D. Dobson, 1950. ML 3795.M45.

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In the discussion of their contributions to the English musical renaissance, Mellers recognizes Holst and Vaughan Williams for their “triumph over adversity and this is why they are … ﬁgures of such crucial importance in our musical history” (p. 160). 393. Moore, Jerrold Northrop and Michael Kennedy. “Edward Elgar and Ralph Vaughan Williams.” In Heritage of Music , edited by Michael Raeburn and Alan Kendall, vol. 4, pp. 111–129. Oxford: Oxford University Press, 1989. ISBN 019520493X. ML 160.H527 1989. Discussion of Holst is entwined in the section of the chapter on Vaughan Williams, but his biographical details are found in the biographical dictionary section of the volume.This lavishly illustrated volume is geared to the nonspecialist and provides good context for the time period. Includes a photograph of Holst on a walking tour with Vaughan Williams and a color reproduction of the Woodforde portrait. 394.

Pirie,Peter John. The English Musical Renaissance . London: Gollancz, 1979. 270 p. ISBN 0575026790. Also published: New York: St. Martin’s Press, 1979. ML 286.5.P6 1979. Mentions of Holst and his major works are sprinkled throughout this chronological survey of twentieth-century English music. Pirie notes that Holst’s inﬂuence was “lar gely on amateurs … his style died with him”; however, he also speculates that Holst may have outshoneVaughan Williams as a composer if Holst had lived longer.

395.

Richards, Jeffrey. Imperialism and Music: Britain, 1876–1953. Studies in Imperialism. Manchester: Manchester University Press, 2001. x, 534 p. ISBN 0791045061. ML 285.R53 2001. Holst is discussed brieﬂy in the sections covering festivals and exhibitions and as part of the general discussion of the English musical renaissance.

396.

Scholes,Percy. The Mirror of Music, 1844–1944: A Century of Musical Life in Britain as Reﬂected in the Pages of the Musical T imes. London: Novello, 1947. 2 vols. ML 285.S35. References to Holst are scattered throughout these volumes; also includes a reference to the election of Holst’ s father Adolph as conductor of the local Cheltenham musical society. The earliest mention of Holst appears to be a notice of a concert at the Royal College of Music, where “a light suite by Mr. Gustav von Holst completed the programme.”

397.

Stevenson,Victor and Clive Unger-Hamilton, eds. The Music Makers . New York: H. N. Abrams, 1979. 255 p. ISBN 0810913275. ML 105.M9. A richly illustrated general survey of music for the nonspecialist. Holst is given a brief discussion plus other minor mentions. Includes a photograph of Vaughan Williams and Holst on one of their country walks.

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398. Trend, Michael. “Heirs and Rebels: Vaughan Williams, Holst, Butter worth.” In The Music Makers: Heirs and Rebels of the English Musical Renaissance from Elgar to Britten , pp. 95–120. New York: Schirmer Books, 1985. ISBN 0028730909. Also published: London: Weidenfeld and Nicolson, 1985. ML 286.5.T7 1985. Detailed discussion of the works and signiﬁcance of the three composers. Articles 399.

“Royal College of Organists.” The Musical Times 75, no. 1099(September 1934): 823–829. The subsection titled “Distribution of Diplomas” includes an address by Dr. H. G. Ley with his reﬂections on the three composers who had died in 1934 (Elgar, Delius, and Holst) and how their personalities inﬂuenced English music. Holst was described as not only an internationally known composer, but an “inspiring leader and teacher” (p. 827).

400. “Twenty Minutes: 1934 in History.” BBC Radio 3. http://www.bbc.co.uk/ programmes/b00llqjb (accessed June 5, 2010). This episode (aired on BBC Radio 3, July 17, 2009) featured historian Julian Gardiner, looks at the signiﬁcance of the year 1934, and provides context for the year that marked the deaths of Elgar, Delius, and Holst. 401. “Twenty Minutes: In Memoriam 1934.” BBC Radio 3. http://www.bbc. co.uk/programmes/b00lvf1t (accessed June 5, 2010). This episode (aired on BBC Radio 3 on July 25, 2009) featured David Owen Norris’s look back through the newspapers of 1934 to assess critical and public reaction to the deaths of Elgar, Delius, and Holst. 402.

Bliss, Arthur. “The English Renaissance.” Pro-Musica Quarterly 2, no. 1 (12 1923): 10–13. A discussion of composers connected to the English musical renaissance, including Holst.

403. Boulestin, X. Marcel. “Les Post-Elgarians ou la jeune ecole anglaise.” Revue Musicale (January 1914): 19–30. Holst is discussed on pp. 24–25 of this article on the younger generation of English composers. 404. Capell, Richard. “Extract from an Introduction to a Sketch of Gustav Holst. Gloucester to Paddington.” Music & Letters 7, no. 4 (October 1926): 310–321. An extract from a chapter from an unpublished study of Holst. A lengthy discussion of the development of English music places Holst in historical

Bibliography

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context. There is also a discussion of the inﬂuence of folk song; for Holst, it was not the actual folk song that mattered but what it suggested. 405. Capell, Richard. “The Time and the Place: Introduction to a Sketch of Holst (Extract).” Music & Letters 7, no. 2 (April 1926): 150–156. This article sets the stage for a discussion of Holst and his music. Capell notes that the work of Holst is unique in that it synthesizes elements from England’s musical past with elements from the Continent. 406.

Collins,Chris. “Falla in Britain.” Musical Times 144, no. 1883 (summer 2003): 33–48. Traces Manuel de Falla’s connections to England. Holst’s Japanese Suite was performed at the same concert where Falla served as piano soloist in his Nights in the Gardens of Spain. Falla likely met Holst at a reception in 1927. Holst’s “Matthew, Mark, Luke and John” (from the West Country Songs) was in Falla’s personal library.

407.

Evans, Edwin. “Half-Time in England.” Modern Music 3, no. 4 (May–June 1926): 10–15. Ponders the activity (or lack thereof) of contemporary composers such as Vaughan Williams, Arnold Bax, Frank Bridge, and Holst.

408. Evans, Edwin. “The New Spirit in English Music.” no. 1 (February 1924): 20–23.

Modern Music 1,

Describes a new era in English music, driven by composers such as Holst, Arnold Bax, Eugene Goossens, and Arthur Bliss. 409. Hesse, Lutz-Werner. “Elgar, Delius und Holst.” (July–August 1984): 341–44.

Musica 38, no. 4

Holst’s The Planets is cited as one example of English music freed from continental inﬂuences. However, once English music started to lose its “Englishness” and followed continental trends, English music lost its importance. 410.

Hutchings, Arthur. “The Meditative English Mind.” Listener 61 (April 23, 1959): 736. On the surface, Edward Elgar’s Cockaigne, Frederick Delius’s Sea Drift, and Holst’s Beni Mora suite would appear to have nothing much in common. The author notes that there is indeed a commonality, in that the music of these composers is “most frequently pressed into service for documentaries, travel and descriptive programs, and for plays during which the produced wishes to suggest expanses and distances, especially that of the mind and imagination.”

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411. Jean-Aubry, G. “British Music through French Eyes.” Musical Quarterly 5, no. 2 (April 1919): 192–212. A survey of British music by a sympathetic French music critic. Holst is one of six composers assigned to “modern English school” (along with Arnold Bax, Frank Bridge, Roger Quilter, John Ireland, and Eugene Goossens) by virtue of their individuality plus “common tendencies in their manner of thinking and in the aims they have set up for themselves” (p. 204). Holst is termed the “most interesting” of the group (despite his “Dutch” [sic] name), mainly in regard to oriental inﬂuences and knowledge of early English music. 412. Kennedy, Michael. “The English Musical Renaissance 1880–1920.” Gramophone 60, no. 711 (August 1982): 218–222. Survey focuses on the music of Elgar , Delius, Vaughan Williams, and Holst. Includes discography. 413. Mellers, Wilfrid. “New Trends in Britain: A Note on Rubbra and Tippett.” Modern Music 21, no. 4 (May–June 1944): 212–216. Speculates on which English composers are likely to matter most to the future and settles on Edmund Rubbra and Michael Tippett. Vaughan Williams and Holst, whom Mellers describes as a “creatively frustrated but highly intelligent and historically important artist” (p. 215), are cited as an inﬂuence on contemporary English music. 414. Mellers, Wilfrid. “Two Generations of English Music.” Scrutiny 12, no. 4 (autumn 1944): 261–270. Description of Holst’s signiﬁcance in the English musical renaissance. 415. Payne, Anthony. “Englands zweite Renaissance in der Musik.” Österreichische Musikzeitschrift 41, no. 3–4 (1986): 149–54. This survey of the “second” English musical renaissance (1900–1930) includes a brief discussion of Vaughan Williams and Holst as representatives of the second generation, after Edward Elgar and Frederick Delius. 416. Sharp, Chris. “The Music of Hope and Glory.” British Heritage 31, no. 1 (March 2010): 24–29. Holst is identiﬁed as one of several composers of “quintessential English music” (p. 24), along with Edward Elgar , Ralph Vaughan Williams, and Benjamin Britten. Written for the layman, the article includes information about various music festivals and composer museums. One of the many illustrations for the article includes a photograph of the piano that Holst used to compose The Planets.

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Dissertations and theses 417.

Kuy kendall, James Brooks. “The English Ceremonial Style Circa 1887–1937 and its Aftermath.” Ph.D. diss., Cornell University, 2005. xiii, 289 leaves. This examination of the English ceremonial style centers on ﬁve compositions: “He is an Englishman” ( HMS Pinafore) by Sir Arthur Sullivan, the ﬁnal chorus of Edward Elgar ’s cantata, Caractacus, the anthem “I Was Glad When They Said unto Me” by Hubert Parry, the song “Let Us Now Praise Famous Men” by Ralph Vaughan Williams, and the march Crown Imperial by William Walton. Holst is mentioned tangentially in the larger discussion of how national identity is portrayed through various musical traits. Speciﬁc works cited in that discussion include theSecond Suite in F, “Marching Song” (Songs without Words), and “Jupiter” (The Planets).

418. Swann, D. T. “Gentlemen v . Players: Alienation and the Esoteric in English Music 1900–1939.” Ph.D. diss., University of Southampton, 1997. iii, 182 leaves. During the years of the English musical renaissance, inﬂuential composers (the “Gentlemen”) were successful in ostracizing those composers who didn’t ﬁt their ideals (the “Players”). These composers incorporated continental inﬂuences, mysticism, and orientalism into their music, thus threatening the start of a distinctive English musical style. Holst is described as a “closet player”—one who included several of the above-mentioned elements in his music, but was accepted by the establishment. Music of the “Players,” despite its originality and initial public popularity, gradually faded into neglect at the hands of the BBC musical policy and selectors. Comparisons with speciﬁc composers Arnold Bax 419. Toye, Francis. “Studies in English Music, VII: Arnold Bax and Gustav Holst.” Listener 6, no. 133 (July 29, 1931): 184. Holst comes up short in Toye’s comparison of the two composers. Bax is termed the “most important” British composer under the age of ﬁfty while Holst is described as primarily a technician—“the absolute antithesis to Bax” (p. 184). Johannes Brahms 420.

“Brahmsand Holst.” Times (London), no. 49550 (May 20, 1943). The review contains a brief discussion of the dif ferences between the two composers and compares two works: Brahms’ s third symphony and Holst’s The Planets.

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Frederick Delius 421. “The Loss to English Music: Gustav Holst.” Musical Opinion 57, no. 682 (July 1934): 865. Compares the achievements of Holst to the recently deceased Frederick Delius. 422. Brian, Havergal. “The Loss to English Music.” no. 682 (July 1934): 860–865.

Musical Opinion 57,

Notes the passing of Delius and Holst, with a comparison of the two composers. Edward Elgar 423.

Hussey , Dyneley. “Two Modern Composers.” Saturday Review 135 (February 17, 1923): 217–218. This comparison of Holst and Elgar includes discussions of the Hymn of Jesus and The Planets.

424.

aylor, T Stainton. “Gustav Holst (1874–1934).” The Choir 64, no. 297 (September 1934): 195–196. Tribute. A brief comparison with the recently deceased Elgar shows Holst to be forward-looking, a member of the musical vanguard.

Arnold Schoenberg 425.

Lambourn,David. “Henry Wood and Schoenberg.” Musical Times 128, no. 1734 (August 1987): 422–427. Recounts the premiere of Arnold Schoenberg’s Five Orchestral Pieces, given by Sir Henry Wood at the Queen’s Hall, London on September 3, 1912 as part of the eighteenth season of Promenade Concerts. Holst was impressed by the piece, and some inﬂuence can be detected in The Planets and the ballet The Lure.

426.

Whittall,Arnold. “Wagner, Schoenberg, Holst: A Centenary Essay.” Soundings 4 (1974): 87–99. The year 1974 marks the centenary of the births of Arnold Schoenberg and Gustav Holst; in addition, it marks the centenary of the completion of Richard Wagner’s Ring cycle. A work by each composer , Schoenberg’s String Quartet No. 3 and Holst’ s Egdon Heath, are shown to epitomize the problems of composing in Wagner’s wake.

Alexander Scriabin 427. Abraham, Gerald. “On Holst and Scriabin.” Concerts and Recitals , new ser. no. 11 (October 27–November 3, 1934): 794–795.

Bibliography

A comparison of the two composers based on their compositions Planets and Prometheus.

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Ralph Vaughan Williams 428.

Gray , Cecil. “Vaughan Williams and Holst.” Nation and the Athenaeum 38, no. 8 (November 21, 1925): 290. Compares two works recently aired: Holst’s First Choral Symphony and Vaughan Williams’ Flos Campi. Gray determines Vaughan Williams to have “progressed steadily in each successive work,” while Holst shows a “continuous and unrelieved decline.” Gray goes even further, declaring the Choral Symphony to be Holst’s worst work.

429. Holst, Imogen. “Holst’s Debt of Gratitude to Vaughan Williams.” Folk Music Journal 2, no. 3 (1972): 171–172. This article is the fourth part of a lar ger article titled “Ralph Vaughan Williams: The Centenary of His Birth” by Michael Kennedy and others. Miss Holst recalls the inﬂuence of folk music on Gustav’s work, particularly the Two Songs without Words; these works form a perpetual “thank you” to Vaughan Williams for introducing Holst to folk music. 430.

Mark,Jeffery. “Vaughan Williams and Holst.” Modern Music 2, no. 1 (January 1924): 24–26. In a comparison of the two composers’artistic attitudes, Holst is described as a “modern” composer because his attitude is intellectual in nature.

431. Young, Percy M. “Holst and Vaughan Williams.” In Pageant of England’s Music, pp. 141–153. Cambridge: W. Heffer & Sons, 1939. ML 286.Y58. Compares the musical styles of the two composers. The author spends quite a bit of space on their backgrounds, as he feels it is important to understand them before listening critically to the music. 432. Young, Percy M. “V aughan Williams and Holst.” In History of British Music, pp. 547–557. London: Ernest Benn, 1967. ML 285.Y68 1967. Discusses the lives, works, interests, and inﬂuences of the two composers. Compositional Process and Style General Monographs and chapters 433.

Abraham,Gerald. “Gustav Holst.” In British Music of Our Time, edited by A. L. Bacharach, pp. 44–62. Harmondsworth: Pelican Books, 1946. ML 285.B3.

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Discussion of Holst’s works and the development of his compositional style. No musical examples, but there is a brief discography. 434. Ewen, David. “Gustav Holst 1874–1934.” In The Complete Book of Twentieth Century Music , pp. 180–181. New York: Prentice-Hall, 1952. MT 90.E9. Discussion of Holst’ s literary inﬂuences, religious philosophies, and style characteristics in addition to brief biographical details. Provides a description of The Planets and St. Paul’s Suite. 435.

Harman, Alec, Anthony Milner, and Wilfrid Mellers. “Elgar and Vaughan Williams.” In Man and His Music; the Story of Musical Experience in the West, pp. 966–981. New York, Oxford University Press: 1962. 1 172 p. ML 160.H284. The discussion focuses on Holst’s compositional style and the inﬂuence of Igor Stravinsky.

436. Howes, Frank. “Holst and Vaughan Williams: Emancipation.” In The English Musical Renaissance, pp. 230–245. London: Secker & Warburg, 1966. Also published: New York: Stein and Day, 1966. ML 286.H69. Howes credits the two composers for cutting loose from continental inﬂuences, thus laying a foundation for an English nationalist school of composition. Articles 437.

“A Land without Music?” Classic Arts Productions. http://www.classicarts. co.uk/programmes-landwithoutmusic.asp (accessed June 5, 2010). Summary of programs in the series originally broadcast on BBC Radio 3 in 1995 as part of the “Fairest Isle” season. Presenter Andrew Motion examined music and poetry of early twentieth-century Britain. Holst is discussed in the second and third programs. The second program was devoted to landscape as metaphor and featured Egdon Heath. The third program covered spiritualism and mysticism, and included The Cloud Messenger.

438. Abraham, Gerald. “The Art of Gustav Holst.” Music Teacher 3, no. 7 (July 1924): 387–388. A discussion of Holst’ s musical style; Abraham points out that Holst’ s music is not easy to classify , as he doesn’ t belong to a compositional school or historical sequence and can’t be satisfactorily compared to any other composer. 439. Brian, Havergal. “Gustav Holst, an English Composer.” Musical Opinion 63, no. 748 (January 1940): 154–155.

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Survey of Holst’ s compositional style, emphasizing his English roots. Brian credits the suite Beni Mora for lifting Holst from obscurity and The Planets for cementing his reputation. 440.

Confalonieri,Giulio. “Gustav Holst.” La Critica Musicale (Flor ence) (1923): 2–3. Survey of Holst’s career and compositional style (in Italian).

441.

Co oley, Nancy. “Reﬂections on Holst.” Paulina, no. 153 (1973–74): 17–18. Discusses Holst’s compositional style.

442. Dickinson, A. E. F. “The Art of Gustav Holst (Born 1874).” Opinion 97 (February 1974): 228–229.

Musical

Examines Holst’s development as a composer. 443. Dickinson, A. E. F. “The Revival of Holst.” Tempo, no. 111 (December 1974): 2–6. An overview of Holst’s works, focusing on texts, melodic and harmonic textures, structural method, and most signiﬁcant works appropriate for a centenary celebration. 444.

Green,L. Dunton. “Gustav Holst.” Chesterian, new ser . no. 8 (June 1920): 225–228. Taking Holst’s quote “I do love to write a tune” as a starting point, the author discusses Holst’s compositional style and development.

445. Heward, Leslie. “Gustav Holst and a Method, or , Composition without Tears.” Opera 1, no. 12 (December 1923): 12–14. Discussion of the originality of Holst’ s compositional style, characterized by his use of bitonality , pedal points, asymmetrical meters, and orchestration. Includes brief musical examples. 446.

Hill, Ralph. “Gustav Holst: 1874–1934.” Radio Times 83, no. 1077 (May 19, 1944): 5. A discussion of Holst’s compositional style as shown by the The Planets and Egdon Heath.

447. Kidson, Erica. “Gustav Holst.” Canon 8, no. 4 (November 1954): 185–187. Examines the origins of Holst’s style. He was inﬂuenced by early English music and folk song, and eastern philosophy and Sanskrit literature, but not from contemporary experimentation like other modernists. 448. Rubbra, Edmund. “Gustav Holst.” Chesterian 15, no. 116 (July–August 1934): 153–157. Tribute article that includes a discussion of Holst’s compositional style.

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449. Rubbra, Edmund. “Holst, Some Technical Characteristics.” Monthly Musical Record 62, no. 740 (October 1932): 170–173. Rubbra delineates three compositional periods in Holst’ s output to date: one culminating in The Planets, with an emphasis on rhythmic vitality, a second group culminating with the Choral Symphony, with an emphasis on vertical chord structure, and ﬁnally a period based on counterpoint. Includes musical examples. 450. Sharp, G. B. “Gustav Holst.” Church Music 3, no. 27 (June 1974): 14–17. Examines Holst’s compositional style and the inﬂuences on his work. 451. Short, Michael. “Gustav Holst: What We Can Learn from Him.” Composer, no. 52 (summer 1974): 13–16. Argues that inspiration is as essential as technique in the composition of music. Holst downplayed the importance of speciﬁc compositional technique, often reluctant to explain his work. The author theorizes that this could account for the lack of attention paid to Holst’s music. Dissertations and theses 452. Borgen, Nathaniel John. “The Mature Style of Gustav Holst.” M.M. thesis, University of Wisconsin—Madison, 1971. 125 leaves. Traces Holst’s stylistic development, concentrating on the works published from the 1920s to the end of his life. Egdon Heath and Hammersmith are analyzed as representative compositions of Holst’ s mature period. Includes bibliography and handwritten musical examples. 453. Macan, Edward L. “An Analytical Survey and Comparative Study of the Music of Ralph Vaughan Williams and Gustav Holst, c. 1910–1935.” Ph.D. diss., The Claremont Graduate University, 1991. A comparative study of harmonic, melodic, rhythmic, and structural practices used by Holst and Ralph Vaughan Williams. A summary of both composers’ overall stylistic development during the period 1910–1935 is given. The inﬂuence of earlier English music is considered. Holst and Vaughan Williams are found to be creators of a twentieth-century “English style” emphasizing modality, open sonorities, polymodal or bitonal polyphony, and asymmetrical meters. This style can be traced in art music through the works of Benjamin Britten, Michael Tippett, Peter Maxwell Davies, and Harrison Birtwistle. The new style also inﬂuenced English popular music of the 1960s and 1970s, most notably in groups such as Emerson, Lake & Palmer, Yes, and Genesis. 454. Montgomery, John Murray. “Selected Orchestral Works of Gustav Holst.” M.M. thesis, The University of Western Ontario (Canada), 1973. vii, 239 leaves.

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An examination of the formal, melodic and harmonic devices used by Holst in The Planets, Egdon Heath, Hammersmith, and Scherzo. Includes musical examples and bibliography. 455. Rees, John Aldon. “An Assessment of the Stylistic Evolution of Gustav Holst.” M.A. thesis, University of Wales (Cardiff), 1974. iv, 142 leaves. Not available for examination. Harmony 456. Macan, Edward Lawrence. “Holst’ s ‘Mars’: A Model of Goal-Oriented Bitonality.” In Music in Performance and Society: Essays in Honor of Roland Jackson, edited by Malcolm Cole and John Koegel, pp. 411–422. Warren, MI: Harmonie Park, 1998. Macan explains how Holst’ s dynamic goal-oriented bitonality goes beyond the polytriads and dissonant ostinatos to play a unique structural role in this movement from The Planets. Articles 457. Dickinson, Alan Edgar Frederic. “The Neo-Modal Style.” Music Review 33, no. 2 (May 1972): 108–21. Examines Holst’s harmonic style and use of modes inThe Hymn of Jesus. 458. Grace, Harvey. “Music for Worship.” Listener (June 9, 1937): 1165. Examines Holst’s use of the interval of the fourth in his choral harmonizations. 459. Macan, Edward Lawrence. “Block Juxtapositions: A Structural Principle in the Music of Holst andVaughan Williams.” British Music: The Journal of the British Music Society 15 (1993): 84–104. Both Holst and Vaughan Williams used structural outlines based on systematic contrasts between blocks of goal-oriented modal harmony and blocks of more dissonant, sometimes static harmony (bitonal, whole-tone, or pentatonic). Neither of the composers originated the structure, which can be traced back to late nineteenth-century Russian nationalism. This methodology is apparent in The Planets. In his later works, Holst relied upon the ground bass ( Double Concerto) and fugue ( Hammersmith) to unite blocks of material. 460. Walker, Ernest. “Holst’s Harmonic Methods.” Monthly Musical Record 60, no. 716 (August 1930): 232–233. A discussion of Holst’ s harmonic techniques as demonstrated by his Twelve Songs (H174). Walker points out Holst’s partiality for the interval

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of a fourth and his use of “verbal rhythm” in the text setting. Includes brief musical examples. Dissertations and theses 461. Isted, Lisa. “Modal Structures in European Art Music, 1870–1939: Extended Diatonicism in Music by the Russian Nationalists, Sibelius, Vaughan Williams and Holst.” Ph.D. diss., University of Bristol, 1993. 447 leaves. This study of the progressive expansion of diatonicism toward atonality devotes an entire chapter to the discussion of Holst’ s experiments with pitch organization and compositional techniques used in The Planets. 462. Jenkins, Martin David. “Ostinato and Harmonic Procedures in Three Movements from Gustav Holst’ s The Planets.” M.A. thesis, University of North Carolina—Chapel Hill, 1991. viii, 71 leaves. Examines the harmonic and rhythmic functions of ostinati and their effect on the character of the movements “Mars,” “Saturn,” and “Jupiter.” Includes bibliography. Inﬂuences Discussions of multiple inﬂuences 463. Holst, Imogen. “Holst: The Man and Musician.” Radio Times 110, no. 1424 (February 23, 1951): 13. Remarks on Holst’s interest in astrology and Sanskrit. 464. Warrack, John. “Holst and the Linear Principle.” Musical Times 115, no. 1579 (September 1974): 732–735. The author theorizes that Holst’ s individualistic compositional style derives from early English music and folk song. Holst was also inﬂuenced by the music of Arnold Schoenberg and Igor Stravinsky, evident in compositions such as Savitri, The Planets, Choral Fantasia, Hymn of Jesus, Hammersmith, and Egdon Heath. Early English music 465. Mellers, Wilfrid H. “Recent Trends in British Music.” Musical Quarterly 38, no. 2 (April 1952): 185–201. One section of the article is devoted to Holst and his interest in early English music.

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DISSERTATIONS AND THESES

466. Hardwick, Peter. “The Revival of Interest in Old English Music inVictorian England, and the Impact of This Revival on Music Composed into the Twentieth Century.” Ph.D. diss., University of Washington, 1973. 344 leaves. One chapter of this dissertation is devoted to discussion of plainsong, medieval music, Tudor, and Purcellian inﬂuences in the music of Holst and Vaughan Williams. Includes musical examples and bibliography. 467. Rimicci, Steven M. “The Question of Elizabethan Inﬂuence in the Music of Gustav Holst.” M.A. thesis, University of Rochester, 1978. ii, 127 leaves. The Holst literature often refers to the inﬂuence of Elizabethan music on the works of Holst. Through a survey of his works, only one of Holst’ s works, the song “Now is the Month of Maying” is found to have signiﬁcant Elizabethan inﬂuences. Includes bibliography and musical examples. Folk song MONOGRAPHS AND CHAPTERS

468. Karolyi, Otto. “The Folk Song Revival and Its Inﬂuence: Cecil Sharp, Ralph Vaughan Williams, Gustav Holst, George Butterworth.” In Modern British Music: The Second British Musical Renaissance—Fr om Elgar to P. Maxwell Davies, pp. 23–32. Rutherford, NJ: Fairleigh Dickinson University Press, 1994. ISBN 0838635326. ML 285.5.K33 1994. The inﬂuence of folk music on Holsts’ compositions, and his friendships with folk-song collector Cecil Sharp and Ralph Vaughan Williams are discussed in the Holst subsection of the chapter. 469. Searle, Humphrey and Robert Layton. “The English Nationalist School.” In Twentieth-Century Composers. III: Britain, Scandinavia, and the Netherlands, pp. 22–39. London: Weidenfeld & Nicolson, 1972. A portion of this chapter provides basic biographical details and an assessment of Holst’s signiﬁcance: the inﬂuence of folk song helped to free music from the grasp of the Continent. Includes an early photograph of Holst and his wife Isobel. ARTICLES

470. Holst, Imogen. “Gustav Holst’s Debt to Cecil Sharp.” Folk Music Journal 2, no. 5 (1974): 400–403. Notes the transformation of Holst’ s musical life in 1903, when Cecil Sharp began collecting folk song. Although Holst himself did not collect

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folk songs, folk songs collected by Sharp and others provided a great inﬂuence on both Holst’ s vocal and instrumental compositional style. Reproduces one letter (held at the Vaughan Williams Memorial Library) from Holst to Sharp. DISSERTATIONS AND THESES

471. Hopwood, Paul Andrew. “Frank Bridge and the English Pastoral Tradition.” Ph.D. diss., University of Western Australia, 2007. vii, 352 leaves. A study of the development of the English pastoral genre and the folksong tradition concentrates on Frank Bridge, but also includes discussion of his colleagues like Holst. 472. Pittman, Daniel Sayle. “Percy Grainger, Gustav Holst, and Ralph Vaughan Williams: A Comparative Analysis of Selected Wind Band Compositions.” D.M.A. diss., Memphis State University, 1979. xiii, 227 leaves. A comparative analysis, based on the theories of Heinrich Schenker , of Holst’s Second Suite in F, Ralph Vaughan Williams’s Folk Song Suite , and Percy Grainger’s Lincolnshire Posy. Pittman also examines the contribution of the English folk songs to the compositions, all of which use English folk songs as thematic material. 473. Pitts, Larry Guinn. “A Comparative Analysis of Selected Wind Band Compositions of Gustav Holst, Ralph Vaughan Williams and Percy Grainger with an Investigation of English Folk Song Inﬂuences.” M.M. thesis, University of Houston, 1983. viii, 117 leaves. Provides a comparative analysis of Holst’ s First Suite in E-ﬂat, Second Suite in F , Ralph Vaughan Williams’s English Folk Song Suite , and Percy Grainger’s Lincolnshire Posy. The thematic material in all of these works are inﬂuenced by folk songs, with the folk songs themselves incorporated in the suites. Literature 474. “Holst, Gustav.” Oxford Companion to English Literature in Oxford Refer ence Online, edited by Dinah Birch. http://www.oxfordreference.com/views/ ENTRY.html?subview=Main&entry=t113.e3685 (accessed June 5, 2010). Provides a summary (with links to individual entries) of authors of texts set by Holst. 475. Gooch, Bryan N. S., David S. Thatcher, and Odean Long. Musical Settings of British Romantic Literatur e: A Catalogue. Garland Reference Library of the Humanities. New York: Garland, 1982. lxxxiii, 1768 p. ISBN 082409381X. ML 128.V7 G57 1982.

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The catalog includes information about Holst’ s settings of Blake, Campbell, Keats, and Scott. Entries include the work’ s title, manuscript information, and a short description. 476. Gooch, Bryan N. S., David S. Thatcher, and Odean Long. Musical Settings of Late Victorian and Modern British Literatur e: A Catalogue. Garland Reference Library of the Humanities. New York: Garland, 1976. xxiii, 1112 p. ISBN 0824099818. ML 128.V7 G58. The catalog includes information about Holst’ s settings of Beddoes, Carroll, Dolben, Hood, Kingsley , Macaulay, Rossetti, and Tennyson. Each entry contains the work’s title, manuscript information, and a short description. 477. Rose, Michael. “Holst, Gustav.” In The Oxford Companion to English Literature, 6th ed., rev. ed., edited by Margaret Drabble, pp. 490–491. Oxford: Oxford University Press, 1985. ISBN 0198662440. PR19.O94 2000 Summarizes the sources of his literary texts and inﬂuences of English literature. Articles 478. Poduska, Donald M. “Classical Myth in Music: A Selective List.” The Classical World 92, no. 3 (January–February 1999): 195–276. Several of Holst’s works are found in this list (arranged by classical per sona): Apollo (First Choral Symphony ), Ares/Mars (“Mars” from The Planets; although only a rock music version by Emerson, Lake & Palmer is cited here), Dionysus ( Hymn to Dionysus, First Choral Symphony ), Olympian gods ( The Planets), Pan ( First Choral Symphony ), and Persephone (“Dweller in my Deathless Dreams” fromTwelve Songs of Humbert Wolfe). Speciﬁc writers THOMAS HARDY

479. Gilliland, Norman. “August 27th: Gustav Holst & Thomas Hardy.” In Grace Notes for a Year: Stories of Hope, Humor & Hubris from the World of Classical Music , pp. 240. Madison, WI: NEMO Productions, 2002. ISBN 0971509301. ML 65.G55 2002. A collection of vignettes originally produced forWisconsin Public Radio. This particular story tells about Holst’ s meeting with Thomas Hardy in 1927 that included a tour of Egdon Heath Hardy’ s work and the heath provided the inspiration for Holst’s orchestral piece, Egdon Heath.

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ARTICLES

480. “Composers in the Countryside.”http://www.bbc.co.uk/radio4/composers countryside/pip/ep3ln/ (accessed June 5, 2010). Summary description of a radio program that aired December 1 1, 2005. The program series dealt with how composers were inspired by the country, and this particular program featured Holst and Thomas Hardy. Host Simon Halsey talked with Hardy scholar Furse Swann and composer Colin Matthews about the inﬂuence of Egdon Heath in Holst’s tone poem. 481. “Hardy, Holst and Kafka.” Times (London), no. 59041 (March 18, 1974). The 1927 meeting of Holst and Hardy was the subject of a Parade television program. The script was written by Peter Plummer and featured music of the Halle Orchestra conducted by James Loughran. 482. Foss, Hubert. “Thomas Hardy and Music.” Music II, no. 1 (1951): 100–110. A survey of works inspired by Thomas Hardy, including Holst’s Egdon Heath, and works by Vaughan Williams, Balfour Gardiner, Patrick Hadley, Frédéric d’Erlanger, and Rutland Boughton. Hardy’ s novel Far from the Madding Crowd is a good example of Hardy’s own “musical prose.” 483. Sherman, Elna. “Music in Thomas Hardy’s Life and Work.” Musical Quarterly 26, no. 4 (October 1940): 419–445. Holst’s tone poem Egdon Heath was inspired by the description given of it in Thomas Hardy’s Return of the Native. An account of Holst’s meeting with Hardy (which also included a trip to Egdon Heath) in August 1927 is given. Includes a photograph of the heath. DISSERTATIONS AND THESES

484. Renouf, D. F. “Thomas Hardy and the English Musical Renaissance.” Ph.D. diss., Trent Polytechnic, Nottingham, 1987. Examines the role of writer Thomas Hardy in the English musical renaissance. Music was of interest to Hardy personally, and it is used in various ways in personality and plot in his novels. His writings inspired works by many composers including Vaughan Williams (Symphony No. 9 ), John Ireland (Mai-Dun), and Holst (Egdon Heath). WILLIAM SHAKESPEARE

485. Kennedy, Michael. “VW, Verdi, and the Bard.” Opera 57, no. 3 (March 2006): 278–283. A comparison of Shakespeare-inspired works by Ralph Williams, Gustav Holst, and Edward Elgar.

Vaughan

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WALT WHITMAN

486. Adams, Byron. “‘No Armpits, Please, We’re British’: Whitman and English Music, 1884–1936.” In Walt Whitman and Modern Music: W ar, Desire, and the T rials of Nationhood , edited by Lawrence Kramer , pp. 25–42. New York: Garland Pub., 2000. ISBN 0815331541. ML 80.W5 W35 2000. Contrasts the musical responses of Ralph Vaughan Williams, Gustav Holst, and Frederick Delius to selected aspects of texts by Walt Whitman. Of the texts set by Holst, the Ode to Death is described as the most successful. Holst’s other works related to Whitman include the Walt Whitman Overture, The Mystic Trumpeter, and the Dirge for Two Veterans. 487. Butcher, A. V. “Walt Whitman and the English Composer .” Music & Letters 28, no. 2 (April 1947): 154–167. Selective survey of settings of the poetry of Walt Whitman by British composers. Works of Holst discussed include Dirge for Two Veterans, Ode to Death, The Mystic Trumpeter, and Walt Whitman (overture). The author theorizes that the appeal of Whitman’s poetry to composers is its “directness, the blunt style, half prose and half poetry” (p. 167). 488. Sullivan, Jack. “New World Songs: The Legacy of Whitman.” In New World Symphonies: How American Culture Changed European Music, pp. 95–130. New Haven, CT : Yale University Press, 1999. ISBN 0300072317. ML 240.S89 1999. A general discussion of the role and inﬂuence of poet Walt Whitman on music, a catalog that is as “huge and variegated as Whitman himself” (p. 95). Speciﬁc discussion of Holst’s Whitman settings is found on pp. 116–119; discussion of settings by other British composers surround these pages. Orientalism 489. Grew, Sydney. “Gustav von Holst.” (February 1914): 359–360.

Musical Opinion 37, no. 437

Examines the role of orientalism in Holst’s works and compositional style. 490. Head, Raymond. “Holst and India,” parts 1 through 3. Tempo, no. 158 (September 1986): 2–7; “ Maya to Sita,” no. 160 (1987): 27–37; no. 166 (1988): 35–40. A extensive survey of Holst’s works inspired by Indian culture and philosophy: Sita, Savitri, The Cloud Messenger , and the settings of the Hymns

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from the Rig-Veda. Holst’s interests were likely fueled by exposure to the international expositions and Indian scholars of London. Holst’s “Indian period” was to prove signiﬁcant, providing a direct pathway to compositions like The Planets. Includes musical examples. 491. Hunt, Ken. “Out of India.” Classic CD, no. 88 (August 1997): 24–25. This short article for the nonspecialist traces the inﬂuence of Indian music and culture in the music of Western composers such as Henry Cowell, John Cage, Olivier Messiaen, and Holst (Savitri and Choral Hymns from the Rig Veda). 492. Reck, David R. “Beatles Orientalis: Inﬂuences from Asia in a Popular Song Tradition.” Asian Music 16, no. 1 (1985): 83–149. Holst’s Sanskrit translations for the Hymns from the Rig-Veda are cited as an example of new trends provoking a heightened sense of interest in orientalism in music. Likewise, renewed interest in orientalism in the late 1950s and 1960s inﬂuenced popular music of groups like the Beatles. 493. Spearing, Robert. “Holst the Mystic.” RCM Magazine 52, no. 2 (summer 1974): 58–59. Discusses Holst’s interests in Sanskrit, religion, and astrology. Dissertations and theses 494. Gwynne, Anna Nalini. “India in the English Musical Imagination, 1890– 1940.” Ph.D. diss., University of California, Berkeley, 2003. i, 309 leaves. Examines the musical ramiﬁcations of the relationship between English imperial rule in India and the creation of an English national cultural identity. Focusing on the works of four composers, including Holst, the author shows how India and orientalism is depicted. Holst’ s works discussed include Hymns from the Rig Veda and Savitri. Includes musical examples, illustrations, and bibliography. Socialism Monographs and chapters 495. “The William Morris Society.” http://www.morrissociety.org/ (accessed June 5, 2010). Provides background material on the society , as well as back ﬁles of the society’s journal, links to information about places associated with

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Morris and events. Holst was greatly inﬂuenced by William Morris as a young adult and served as conductor of the Hammersmith Socialist Choir. 496. Harrington, Paul. “Holst and Vaughan Williams: Radical Pastoral.” In Music and the Politics of Cultur e, edited by Christopher Norris, pp. 106–127. New York: St. Martin’s Press, 1989. ISBN 0312035128. Also published: London: Lawrence & Wishart, 1989. ISBN 0853157006. ML 3800.M88 1989. Socialism was important to the early careers of both Holst and Vaughan Williams and continued to have an inﬂuence throughout their lives; however, this aspect has often been overlooked in studies of the composers. Articles 497. Heywood, Andrew. “Gustav Holst, William Morris, and the Socialist Movement.” Journal of the William Morris Society 11, no. 4 (spring 1996): 39–47. Argues that Holst’s commitment to socialism was greater than what the authors of the major Holst biographies claim and that commitment lasted throughout his lifetime. 498. Peart, Donald R. “Vaughan Williams and the British Radical Tradition.” Canon 6, no. 3 (October 1952): 111–114. Recalls the beginning of the English musical renaissance, with a focus on the contributions of Ralph Vaughan Williams and Holst to the movement. The author traces the two composers’ spiritual connections to William Morris, George Borrow, William Cobbett, Jeremy Bentham, and others. Text setting 499. Mellers, Wilfrid. “Holst and the English Language.” Music Review 2, no. 3 (August 1941): 228–234. Reprinted in Studies in Contemporary Music. London: Dobson, 1947, p. 144. ML 197.M27. Examines the inﬂuence of the English language on Holst’ s text setting and instrumental music. 500. Huckvale, David. “Twins of Evil: An Investigation into the Aesthetics of Film Music.” Popular Music 9, no. 1 (January 1990): 1–35. The use of the snare drum in the opening music of the ﬁlm Twins of Evil (1971) is compared to “Mars” from The Planets. 501. Macan, Edward Lawrence. “ ‘The Spirit of Albion’ in Twentieth-Century English Popular Music: Vaughan Williams, Holst and the Progressive Rock Movement.” Music Review 53, no. 2 (May 1992): 100–125.

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Macan expands the discussion begun in the last chapter of his dissertation: that Holst and Vaughan Williams founded a speciﬁc musical language that has dominated much of English music in the twentieth century. This musical language with its basis in modal harmony , exhibits characteristics such as open sonorities, bitonality, and asymmetric meters. In classical music, use of this musical language can be traced from Holst and Vaughan Williams through the works of Benjamin Britten and Michael Tippett, and into the works of Peter Maxwell Davies and Harrison Birtwistle. As this musical language faded from English classical music, it appears in English popular music (most notably in “art” or “progressive” rock music) from groups such as Yes, Genesis, and Emerson Lake, and Palmer. Shared inﬂuences on Holst, Vaughan Williams, and the progressive rock movement include folk song, Anglican church music, and early twentieth-century nationalist composers such as Bartok and Stravinsky. Orchestration Articles 502. Bashford, Rodney. “Holst, Horns and Unharmonious Blacksmiths.” Winds 2, no. 2 (spring 1987): 26–27. Discusses the writing for horns in the two Suites for Military Band. 503. Melton, William. “Greetings from Heaven, Or Demonic Noise?: A History of the Wagner Tuba—Part 7: Modern Voices.” The Horn Call 34, no. 2 (February 2004): 43–50. Features a brief discussion of Holst’s Wagnerian phase and his career as an orchestral trombonist. The author also notes Holst’s use of the tenor tuba (euphonium) in The Planets, and the Suites for Military Band. Dissertations and theses 504. Howard Keith. “The Low Brass Orchestration of Gustav Holst.” D.M.A. diss., Arizona State University, 1996. xii, 150 leaves. Examines Holst’s use of the low brass section in eight selected works drawn from three dif ferent genres (orchestra, military band, brass band): The Planets, “Ballet Music” from The Perfect Fool, A Fugal Overtur e, Scherzo (from his unﬁnished symphony), First Suite in E-ﬂat, Second Suite in F, Hammersmith, and A Moorside Suite . A comparison of these works shows that Holst consistently used low brass instruments in melodic passages and placed conservative demands on player technique. 505. Logan, Russell Mahlon. Wind Band Scoring Practices of Gustav Holst, Ralph Vaughan Williams, and Per cy Aldridge Grainger. D.A. diss., University of Mississippi, 1981. v, 92 leaves. Not available for examination.

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506. Taylor, George M. “The Orchestral Technique in the Orchestral Works of Gustav Holst.” M.A. thesis, Indiana University, 1959. vii, 113 leaves. This study delves into Holst’ s orchestral compositional style to ﬁnd the techniques that give Holst’s music its individual sound. The inﬂuence of Richard Wagner on the music is also discussed. Includes bibliography , musical examples, and brief biographical sketch. P opularmusic 507. Borders, James. “Form and the Concept Album: Aspects of Modernism in Frank Zappa’s Early Releases.” Perspectives of New Music 39, no. 1 (winter 2001): 118–160. Cites Holst as a classical music inﬂuence on Frank Zappa’ s albums Absolutely Free and Uncle Meat. Assessments of Holst’s music and reputation Monographsand chapters 508. Bhimani, Nazlin. “Sorabji’ s Music Criticism.” In Sorabji: A Critical Celebration, pp. 256–284. Brookﬁeld, VT: Scolar, 1992. xiv , 512 p. ISBN 0859679233. ML 410.S6874 S67 1992. The speciﬁc discussion of Sorabji’s musical criticism directed at Holst is found on pages 276–278. The author observes that of all the British composers Sorabji wrote about, Holst received the most negative reviews. The only work Sorabji could muster some faintly positive comments about was Ode to Death. 509. Blom, Eric. “The Art of Gustav Holst.” In A Musical Postbag, pp. 68–71. London: J. M. Dent, 1949. x, 318 p. ML 60.B666 1949 Reprint of an essay originally published in Blom’ s column “From the World of Music” in the Birmingham Post on June 28, 1934. Blom reconsiders Holst’s contribution to music; he feels that the music lacks spontaneity but lauds Holst’s “enterprising mind” (p. 70). 510. Brian, Havergal. “The Passing of Gustav Holst.” In Havergal Brian on Music: Selections fr om His Journalism , edited by Malcolm MacDonald, vol. 1, pp. 285–287. London: Toccata Press, 1986. 2 vols. ISBN 0907689191. ML 60.B8625 1986. Reprint of a column originally published in the 1934 to mark the death of Holst.

Musical Opinion, July

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511. Demuth, Norman. “Gustav Holst.” In Musical Trends in the 20th Century, pp. 136–141. London: Rockliff, 1952. ML 197.D37 1952. In this discussion of Holst’s works, Demuth contemplates reasons for the neglect of the music. 512. Mendl,R. W. S. Reﬂections of a Music Lover. London: Neville Spearman, 1971. 306 p. ML 423.M439 R4. A discussion of the essential qualities of Holst and other composers in relation to their personal character. 513. Raynor, Henry. Music in England . London: R. Hale, 1980. 256 p. ISBN 0709183569. ML 286.R38 1980. Holst is discussed in the chapter covering the English musical renaissance in this survey of English musical history. Raynor gives a favorable assessment of Holst’s music, noting that “the bareness and austerity of his music, perhaps, preclude its popularity , but the greatness of its achievement is clear” (p. 193). Articles 514. “Gustav Holst.” Musical Standard 3, no. n.s. 72 (May 16, 1914): 461–462. The unnamed author notes that the public has been slow to recognize the merits of Holst’s music. He also reports the reasons why Holst feels a national school of English opera has not been achieved. 515. “Gustav Holst: A French View.” Monthly Musical Record 61, no. 726 (June 1931): 167. English summary of a French article by Suzanne Demarquez published in Revue Musicale (no. 115, May 1931, pp. 385–401). 516. “The Music of Holst: A Critical Problem.” Times (London), no. 50181 (June 29, 1945). Feels that Holst’s greater contribution to English music lies in his role of emancipating English music from continental inﬂuences, rather than his contributions to the repertory. The lack of programming of Holst’s music is also noted. 517. Abraham, Gerald. “Holst in Perspective.” Listener 15, no. 388 (June 17, 1936): 1179–1180. Discusses Holst’s contemporary reputation. 518. East, Leslie. “Double Anniversary: Gustav Holst (1874–1934).” Music & Musicians 22 (May 1974): 30–32.

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The year 1974 marked a double anniversary for Holst: the centenary of his birth and the fortieth anniversary of his death. Despite the ef forts of his daughter Imogen, many of Holst’ s later, mature works like Egdon Heath, Hammersmith, the Double Concerto, and the Choral Fantasia are rarely performed. The article is accompanied by an illustration of the Millicent Woodforde portrait of Holst. 519. Evans, Edwin. “Gustav von Holst.” Outlook 33, no. 842 (March 21, 1914): 388. Reprint, Morley College Magazine 23, no. 7 (April 1914): 109–111. Assessment of Holst’s career and reputation. 520. Evans, Edwin. “The New Dispensation.” (November 27, 1920): 539.

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Discusses Holst’s international reputation. 521. Foss, Hubert. “Gustav Holst: Will He Be Permanent in Music?” Cassell’s Weekly 2, no. 28 (September 26, 1923): 35–36. Ponders whether Holst’ s reputation will endure, given the extreme popularity of The Planets and the individuality of his writing. 522. Foss, Hubert. “Holst: The Bringer of Paradox.” Listener 28, no. 714 (September 17, 1942): 381. Discusses Holst’s reputation and some contradictions found in his style and attitude. 523. Grace, Harvey. “Holst: A Third Period?” Musical Times 80, no. 1 151 (January 1939): 30–32, 37. Some writers have attributed Holst’ s decline to the concussion he suffered falling from the conductor’s rostrum. Rather, the author thinks that the four major works of Holst’s “third” period (i.e., the works composed late in his life) were unsuccessful and have undermined Holst’ s overall reputation. 524. Holst, Imogen. “Holst in the 1980s.” Musical Times 125, no. 1695 (May 1984): 266–269. A discussion of selected Holst works that were termed “failures” in his lifetime, but have become popular one hundred years later . Works discussed include the Choral Fantasia, Egdon Heath (which Holst considered his best work), the Choral Symphony, The Wandering Scholar, and A Fugal Overture. Miss Holst notes several changes in performance practice that have beneﬁted Holst’s work and expressed gratefulness for being able to revise her Music of Gustav Holst to add reﬂections on Holst’s music based on experience gained since the book’s original publication.

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525. Hull, Robert H. “Gustav Holst.” English Review 50 (March 1930): 369–374. Since the initial popularity has died down, Hull feels the time is right for a reassessment of Holst’s works, a “welcome opportunity to consider the accuracy or falsity of the earlier judgment” (p. 369). 526. Hull, Robin. “Three British Composers: Elgar, Delius and Holst.” Musical Times 100, no. 1397 (July 1959): 380–382. A comparison of the status enjoyed by the three composers at the time of their death and a quarter century later. 527. Jackson, Peter. “Do We Pay Only Lip Service to Holst?”Music & Musicians 7, no. 9 (May 1959): 17. The year 1959 marked not only anniversaries of Haydn, Handel, and Purcell, but also the twenty-ﬁfth anniversaries of the deaths of Elgar , Delius, and Holst. Of the three latter composers, Holst seems to be the least well known. Jackson identiﬁes three reasons for this situation: the prejudice against British composers, he was ahead of his time, and many of his works are “too austere” for the average listener (p. 17). 528. Kennedy, Michael. “Delius, Elgar and Holst Revisited: A New Look at Three Great English Composers 50 Years After Their Deaths.” Keynote Magazine 8, no. 4 (June 1984): 14–19. Discovers some interesting parallels in the careers of Holst Elgar and Delius; the latter two are described as “twin musical souls.” 529. Kennedy, Michael. “Elgar, Delius and Holst.” Halle (April 1959): 8–12. Discusses the reputations of the composers on the twenty-ﬁfth anniversary of their deaths. 530. Kennedy, Michael. “Out in the Cold.” Spectator (September 1 1, 2004): 49–50. The 2004 Promenade Concerts series marked the seventieth anniversary of three composers who died in 1934 (Edward Elgar , Gustav Holst, and Frederick Delius). Kennedy contemplates the current reputations of the composers and whether that was accurately reﬂected in the programming of the concerts. 531. Kitching, Richard. “‘Holst and the Dance:’ A Talk by Michael Green.” The Delius Society Journal, no. 142 (autumn 2007): 119–120. Report of a talk given on March 1 1, 2007, at the meeting of the Delius Society’s Midlands Branch. After hearing the music accompanying the presentation, the writer wonders why more of Holst’s music is not being programmed.

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532. Mackenzie,Compton. “Editorial.” Gramophone 12, no. 134 (July 1934): 41–42. Reprinted as “Holst and Delius.” In A Musical Chair , compiled by Joyce Weiner, pp. 208–21 1. London: Chatto and Windus, 1939. ML 60.M142 M9. Written on the occasion of the deaths of Elgar , Delius, and Holst,Mackenzie ponders what Holst works like The Planets will say to audiences in one hundred years. He also notes that while Holst seemed popular with his students, he was unable to attract a core group of admirers like Delius was able to. 533. Mendl, R. W. S. “The Recognition of Genius.” Music Teacher 4, no. 12 (December 1925): 741–743. The difﬁculties of evaluating the modern composer is discussed—that true greatness must be recognized by opinion during the composer’s lifetime. Holst serves as an example, as his music assimilated old methods and adapted them for his own purposes. Holst’s genius is exhibited in his best-known work, The Planets. 534. Mendl, R. W. S. “Three English Masters, 4.” Musical Opinion 59, no. 700 (January 1936): 308–309. The fourth installment of this series of articles assesses Holst’s major works and compositional style against those of his colleagues Edward Elgar and Frederick Delius. The author’s opinion is that even though Holst’ s great gifts are “varied and genuine” they do not reach the level of Elgar or Delius. 535. Raynor, Henry. “The Case of Holst: An Interim Report.” parts 1 and 2. Monthly Musical Record 84, no. 954 (February 1954): 31–34; no. 955 (March–April 1954), p. 70–73. The revival of several Holst works provides an opportunity to reassess Holst’s music. The author calls this an “interim report” because the question of Holst’s reputation will be settled by the course of time. 536. Tippett, Michael. “Holst, a Figure of Our Time.” Listener 60, no. 1546 (November 13, 1958): 800. The Planets and The Hymn of Jesus have become a part of musical history in a way that Egdon Heath has not. Tippett concludes that a composer such as Holst can’t be evaluated by a few pieces, but one must consider the entire opus. 537. Van Dieren, Bernard and Richard Capell. “Stereoscopic Views, 3: Gustav Holst.” Dominant 1, no. 12 (December 1928): 13–20. Presents two opposing viewpoints regarding Holst. Van Dieren is annoyed by Holst’s preoccupation with rhythm and meter; Capell paints an admiring portrait of the master composer.

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538. Vaughan Williams, Ralph. “Gustav Holst, a Great Composer .” Listener 51, no. 1318 (June 3, 1954): 965–966. Transcript from a talk originally broadcast on the BBC radio program “Music Magazine.” The tribute contains an assessment of Holst’s artistic value and musical style. 539. Warrack, John. “A New Look at Gustav Holst.” no. 1440 (February 1963): 100–103.

Musical Times 104,

Warrack terms Holst, one of three major composers who died in 1934, as the “most misvalued” of the group. Despite Imogen Holst’s indefatigable efforts to promote her father’s music, performances and a general understanding of his compositional style are found lacking when compared to Delius and Elgar. Warrack also notes Holst’s individuality of style and his inﬂuences on composers such as Vaughan Williams and Britten. Includes musical examples. In the following issue two letters to the editor regarding this article appear. (“A New Look at Holst.” Musical Times 104, no. 1442 [April 1963]: 262). Imogen Holst writes to clarify a point regarding the Hymn of Jesus ; Peter Jackson gives examples of Holst’ s inﬂuence apparent in works like Robert Farnon’s Jumping Bean and Michael Tippett’s Ritual Dances. 540. Warrack, John. “Three English Masters.” (March 1984): 1059–1060.

Gramophone 61, no. 730

Surveys the reception of the music of Elgar, Delius, and Holst and how it has ﬂuctuated in the ﬁfty years since their deaths. Includes a discography. 541. Wood, Ralph W. “The Riddle of Holst.” Musical Opinion 61, no. 725 (February 1938): 401–402. Examines Holst’s music and compositional style for clues to the lack of interest in Holst’s music since his death. GENRE STUDIES AND STUDIES OF MULTIPLE WORKS Genre studies Dramatic Monographs 542. Phaidon Book of the Opera: A Survey of 780 Operas from 1597. Oxford: Phaidon, 1979. 512 p. ISBN 0714818852. ML 102.O6 O63 1979. This richly illustrated chronological list of operas includes entries for The Perfect Fool and Savitri. Both have information on the libretto,

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performance history, and a synopsis. There is also a reproduction of a photograph of Raymond Ellis in a performance of The Perfect Fool at Covent Garden. 543. Block, Tomas. “Nationalkaraktärer på Operascenen: Sekelskiftets Renässans i Engelskt Musikliv och Gustav Holsts Försök Inom den Europeiska Operan.” In Nationell Hängivenhet och Eur opeisk Klarhet: Aspekter på den Europeiska Identiteten Kring Sekelskiftet 1900, edited by Barbro Kvist Dahlstedt, Sten Dahlstedt, pp. 119–173. Stockholm: Brutus Östlings Bokförlag Symposion, 1999. 335 p. ISBN 9171394262. CB204. N38 1999 A study of Holst’s earliest completed serious operas, The Youth’s Choice (1902) and Sita (1906). 544. Bonavia, Ferruccio. “L’Opera in Inghilterra.” In Atti Del Primo Congresso Internazionale di Musica, pp. 183–188. Firenza: Le Monnier, 1935. 278 p. ML 36.C76 1933. Discusses works by Rutland Boughton, Gustav Holst, Ethel Smyth, Frederick Delius, and Ralph Vaughan Williams. 545. Eaton,Quaintance. Opera Production, a Handbook. 2 vols. Minneapolis, MN: University of Minnesota Press, 1961–1974. ISBN 0306706350. MT 955.E25. Provides production information and plot synopses for Savitri and The Wandering Scholar. 546. Griffel, Margaret Ross and Adrienne Fried Block. Operas in English: A Dictionary. Westport, CT: Greenwood Press, 1999. xxviii, 978 p. ISBN 0313253102. ML 102.O6 G74 1999. Holst is well represented in this work, with entries for all of the major operas, plus the early works: The Idea, Lansdown Castle, The Magic Mirror, The Revoke, Sita, and The Youth’s Choice. Entries for the major works include a synopsis, description of the accompaniment, settings of the stories by others, bibliography, and discography; others are less fully covered. 547. Grout, Donald Jay and Hermine Weigel Williams. “Opera in the British Isles.” In A Short History of Opera , pp. 708–724. New York: Columbia University Press, 2003. 4th ed. ISBN 0231119585. ML 1700.G83 2003. Provides a brief summary of Holst’s contributions to opera; Holst was an early pioneer of chamber opera, which became a unique type of English opera that continues to the present. 548. Hurd, Michael. “Gustav Holst.” In Pipers Enzyklopädie Des Musiktheaters: Oper, Operette, Musical, Ballet, edited by Carl Dahlhaus

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and Sieghart Döhring, vol. 3, pp. 96–98. Munich: Piper ISBN 3492024114. ML 102.O6 P5.

, 1986–1997.

Includes information on the libretto, ﬁrst performance, synopsis, manuscripts, editions, and commentary for the operas Savitri and The Perfect Fool. 549. Loewenberg, Alfred. Annals of Opera, 1597–1940 . 3d ed., rev. and corrected ed. London: J. Calder , 1978. xxv, 1756 col. ISBN 0714536571. ML102.O6 L6 1978. This work, ﬁrst published in 1943, is a chronological listing of operas, 1597–1940. Four works by Holst are included: Savitri (1916), The Perfect Fool (1923), The Golden Goose (1929), and The Wandering Scholar (1938). Entries for each opera include information about the libretto, performances, and a brief description of the opera. There are indexes for the composers and operas, as well as a general index. 550. Matthews, Colin. “Holst, Gustav(us Theodore von).” In The New Grove Dictionary of Opera , edited by Stanley Sadie, vol. 2, pp. 741–743. New York: Grove’s Dictionaries of Music, 1992. ISBN 0935859926. ML 102. O6 N66 1992. A discussion of Holst’s dramatic works, with separate entries for the major works (At the Boar ’s Head, The Perfect Fool, Savitri, The W andering Scholar). Includes list of works and bibliography. 551. Mordden, Ethan. “Modern English Opera.” In A Guide to Opera Recordings, pp. 272–279. New York: Oxford University Press, 1987. ISBN 0195044258. ML 156.4.O46 M7 1987. Includes a partial paragraph on Holst, with remarks on recordings of Savitri (Argo) and The Wandering Scholar (Angel). 552. Northouse,Cameron. Twentieth Century Opera in England and the United States. Boston, MA: G. K. Hall, 1976. viii, 400 p. ISBN 0816178968. ML 128.O4 N7. The survey includes four works by Holst:At the Boar’s Head, The Perfect Fool, Savitri, and The Wandering Scholar. There is a chronological list of ﬁrst performances, a list of operas based on literary works, and a list of published operas. 553. Parsons, Charles H. “Holst, Gustav Theodore.” In Opera Composers and Their Works, vol. 2, pp. 857. Lewiston, NY : Edwin Mellen Press, 1986. ISBN 0889464014. ML 102.O6 P3 1986. Provides the brief facts (genre, date of composition, ﬁrst performance, language, and libretto information) for most of Holst’ s operatic works:

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Lansdown Castle, The Idea, The Revoke, The Youth’s Choice, Sita, Savitri, The Perfect Fool, At the Boar’s Head, and The Wandering Scholar. 554. Steane, J. “English Opera in theTwentieth Century: The Operas of Delius, Holst, Vaughan Williams, Walton and Tippett.” In Opera on Record 3, edited by Alan Blyth and Malcolm Walker, pp. 289–308. Dover , NH: Longwood Press, 1984. ISBN 0893415316. ML 156.4.O46 O553 1984. The discussion of Holst’ s contributions takes place on pages 295–298, chieﬂy centering on Savitri, At the Boar’s Head, and The Wandering Scholar. Suggested recordings for the three operas are given in the discography. 555. Summers, W. Franklin. “Holst, Gustav (1874–1934).” In Operas in One Act: A Production Guide, pp. 150–152. Lanham, MD: Scarecrow Press, 1997. ISBN 0810832224. MT 955.S86 1997. Provides production information for Savitri and The Wandering Scholar. 556. Warrack, John Hamilton and Ewan West. “Holst, Gustav.” In The Oxford Dictionary of Opera , pp. 336–337. Oxford: Oxford University Press, 1992. ISBN 0198691645. ML 102.O6 W37 1992. An overview of Holst’ s operatic output, including early works such as Lansdown Castle and The Revoke. Includes list of works and bibliography. Articles 557. Arblaster, Anthony. “Musical Adventurers.” Opera 56, no. 6 (June 2005): 655–660. A survey of British opera written prior to Benjamin Britten’s Peter Grimes, including works by Frederick Delius, Ralph Vaughan Williams, and Gustav Holst ( The Perfect Fool, The W andering Scholar, At the Boar ’s Head, Savitri). Includes a photograph from a production of Savitri by the Scottish opera (1978) featuring Janet Baker and Philip Langridge. 558. Artemas-Polak, Natalie. “Gustav Holst’s Operatic Evolution.”Suite101.com. http://opera-composers.suite101.com/article.cfm/gustav_holsts_operatic_ evolution (accessed June 5, 2010). The evolution of Holst’ s operatic style can be seen as a microcosm of his general compositional development. Although Holst is not gener ally regarded as an opera composer , he composed his ﬁrst opera even before his student days at the Royal College of Music. His last opera was composed in 1930, four years before his death. 559. Honig, Joel. “Is It Curtains for American Chamber Opera?” Opera News 62, no. 2 (August 1997): 10–12, 14, 16–17.

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This survey of chamber opera acknowledges the role of Britain and early works of the genre, such as Holst’s Savitri, and The Wandering Scholar. 560. Hurd, Michael. “Holst’ s Operas.” Music in Education 38, no. 368 (July–August 1974): 168–170. Discusses the feasibility of amateur performance of Holst’s operas. 561. Ottaway, Hugh. “Holst as an Opera Composer no. 1576 (June 1974): 473–474.

.” Musical Times 115,

An overview of Holst’s operas, in preparation for a performance ofSavitri and The Wandering Scholar to be given by the English Opera Group at the Aldeburgh Festival (and to be broadcast on BBC Radio 3). 562. Reuling, Karl. “Heirs and Rebels: The Spirit of Two English Composers Lives on in Their Womenfolk.” Opera News (January 24, 1970): 12–15. Considers the operas of Holst and Vaughan Williams. Dissertations and theses 563. Artemas-Polak, Natalie. “The Operas of Gustav Holst.” M.Phil. thesis, University of Surrey, 2006. 217 p. Not available for examination. 564. Oldland, Marie. “Opera in the British Musical Renaissance: A New Hope or a Lost Cause?” M.Phil. thesis, University of Birmingham, 2000. Examines the treatment of Shakespeare’ s Falstaff in the works of Holst (At the Boar’s Head) and Vaughan Williams. Orchestral and band Monographs and chapters 565. Band Music Guide: Alphabetical Listing of Titles and Composers of All Band Music. 9th ed. Evanston, IL: Instrumentalist Co, 1989. ix, 354 p. ML128.B23 B36 1989. Graded list of original and arranged music for band with publisher , composer/arranger, and date information includes Holst’s band works. 566. Barlow, Harold and Sam Morgenstern. A Dictionary of Musical Themes . Rev. ed. New York: Crown Publishers, 1975. 642 p. ISBN 0517524465. ML 128.I65 B3 1975. Gives musical incipits for the major themes of Suite, and Two Songs without Words.

The Planets, St. Paul’ s

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567. Borowski, Felix. “Holst 1874-.” In The Standard Concert Guide , edited by George P. Upton, Felix Borowski, pp. 281–284. Rev. and enlarged ed. Chicago, IL: A. C. McClurg, 1930. 551 p. MT 90.U63 1930. Includes program notes for The Planets and the suite Beni Mora. 568. Chwialkowski, Jerzy. “Holst, Gustav(us Theodore von).” In The Da Capo Catalog of Classical Music Compositions , pp. 609–619. New York: Da Capo Press, 1996. xx, 1399 p. ISBN 030679666X. ML 113.C59 1996. The entry for Holst includes a classiﬁed list of works (referenced by thematic catalog numbers), which gives bibliographic information, variant titles, dates of composition, names associated with text, and instrumentation. 569. Daniels, David. Orchestral Music Online . Scarecrow Press. http://www. scarecrowpress.com/omd 2008. (accessed May 10, 2010) Based on Daniels’ s Orchestral Music: A Handbook, 4th ed.; updated monthly are entries for eighteen of Holst’s works. Each entry contains the instrumentation, duration, and publisher for the work, along with dates of birth and death and country of the composer. There is no information on the genre or form of the work.The Holst works include Beni Mora, Brook Green Suite, Capriccio, A Choral Fantasia, Christmas Day, Double Concerto, Egdon Heath, First Choral Symphony , Hammersmith, The Hymn of Jesus, In the Bleak Midwinter, Invocation, The Lure, Lyric Movement, The Perfect Fool (“Ballet Music”), The Planets, St. Paul’s Suite, and A Somerset Rhapsody. 570. Fennell,Frederick. Basic Band Repertory: British Band Classics from the Conductor’s Point of View. Evanston, IL: The Instrumentalist, 1980. 48 p. MT 125.F33. Reprints three articles from the Instrumentalist on the First Suite, Second Suite, and Hammersmith. 571. Gammon, Vic and Sheila Gammon. “From ‘Repeat andTwiddle’ to ‘Precision and Snap’: The Musical Revolution of the Mid-Nineteenth Century.” In Bands: The Brass Band Movement in the 19th and 20th Centuries , edited by Trevor Herbert, pp. 120–144. Milton Keynes: Open University Press, 1991. ISBN 0335097030. ML 1331.B26 1991. Revised version published as “The Musical Revolution of the Mid-Nineteenth Century: From ‘Repeat and Twiddle’ to ‘Precision and Snap.’ In The British Brass Band: A Musical and Social History , pp. 122–154. New York: Oxford University Press, 2000. ISBN 0198166982. ML 1331.1.B75 2000. Uses Holst’s A Moorside Suite as the take-off point for a discussion of the relationship between brass bands and folk music.

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572. Goldman, Richard Franko. “Gustav Theodore Holst.” In The Band’s Music, pp. 242–245. New York: Pitman, 1938. MT 733.G72. Brief remarks on Holst’s career and discussion of survey of published and arranged works for band ( First and Second Suites and arrangements of “Jupiter” and “Mars” from The Planets). 573. Greene, Richard. Gustav Holst and a Rhetoric of Musical Character: Language and Method in Selected Or chestral Works. Outstanding Dissertations in Music from British Universities. New York: Garland Pub., 1994. xi, 364 p. ISBN 0815317417. MT 130.H64 G7 1994. A musico-rhetorical analysis of selected orchestral works. Works studied include Country Song, A Somerset Rhapsody, The Planets, The Per fect Fool, The Morning of the Year, Egdon Heath , the Double Concerto, and Hammersmith. Includes musical examples, letters from Holst to Herbert Thompson (not included in Michael Short’s 1990 bibliography), bibliography, and index. 574. Heldt, Guido. Das Nationale als Pr oblem in der Englischen Musik des Frühen 20. Jahrhunderts: Tondichtungen von Granville Bantock, Ralph Vaughan Williams, Edward Elgar, George Butterworth, Gerald Finzi und Gustav Holst. Schriften zur Musikwissenschaft aus Münster . Hamburg: Wagner, 2007. xvii, 940 p. ISBN 9783889790996. ML3797.H43 2007. A study of English tone poems, based on the author (Münster, 1996). Includes musical examples.

’s dissertation

575. Hindmarsh, Paul. “Building a Repertoire: Original Compositions for the British Brass Band, 1913–1998.” In The British Brass Band: A Musical and Social History , pp. 245–277. New York: Oxford University Press, 2000. ISBN 0198166982. ML 1331.1.B75 2000. As brass bands became more popular , famous composers such as Holst and Edward Elgar began to write for them. Compositions represented many forms, including arrangements of classical orchestral works. 576. Kennedy, Michael. “Holst and Vaughan Williams.” In A Companion to the Concerto, edited by Robert Layton, pp. 336–337. NewYork: Schirmer Books, 1989. ISBN 0028719611. ML 1263.C64 1989. A discussion of the two composers’ “nonconventional” concertos. Kennedy describes Holst’s A Fugal Concerto as successful because he is able to impose “his own personality on the borrowed eighteenth-century conventions”(p. 337). Other discussion features the Double Concerto and the Terzetto, both works “overdue for searching re-appraisal.” Invocation and Lyric Movement receive brief mentions. No Holst works are included in the book’s discography.

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577. Manning, Lucy. “Holst, Gustav 1874–1934.” In Orchestral “Pops” Music: A Handbook, pp. 93–94. Lanham, MD: Scarecrow Press, 2009. ISBN 9780810863804. ML 128.O5 M3 2009. A list of works and arrangements appropriate for “pops” orchestra; each entry includes an indication of style, instrumentation, duration, and availability. Holst works included are In the Bleak Midwinter, Christmas Day, Fantasia on Hampshir e Folksongs, A Fugal Overtur e, Let All Mortal Flesh, “Ballet Music” from The Perfect Fool, St. Paul’s Suite, and Three Christmas Songs. 578. Mitchell,Jon C. From Kneller Hall to Hammersmith: The Band Works of Gustav Holst. Alta Musica. Tutzing: H. Schneider, 1990. xii, 193 p. ISBN 3795206200. Previously published Hanover , IN: Ars Ventorum, 1985. ML 410.H748 M58 1990. A chronological survey of Holst’ s works for military band, brass band, or brass ensemble.An instrumentation chart, list of arrangements and transcriptions, and facsimiles are given in appendices. Includes selective bibliography, discography, and index. 579. Mitchell, Jon C. “J. A. C. Somerville and the British Band in the Era of Holst and Vaughan Williams.” In The Wind Ensemble and Its Repertoir e: Essays on the Fortieth Anniversary of the Eastman Wind Ensemble, edited by Frank J. Cipolla & Donald R. Hunsberger, pp. 111–120. Rochester, NY: University of Rochester, 1995. ISBN 1878822462. ML 1300.W58 1994. Col. John A. C. Somerville was instrumental in promoting the British military band tradition and was responsible for many of the works recorded by Frederick Fennell and the Eastman Wind Ensemble in their British band classics series on the Mercury label. 580. Mordden, Ethan. “Gustav Holst 1874–1934.” In A Guide to Or chestral Music: The Handbook for Non-Musicians, New York: Oxford University Press, 1980. viii, 579 p. ISBN 0195026861. MT 125.M72. Non-technical descriptions of The Planets and Egdon Heath (added “for devotees of literature-in-music”) for the casual listener. 581. Rabson, Carolyn. “Holst, Gustav .” In Orchestral Excerpts: A Comprehensive Index, pp. 76–77. Berkeley, CA: Fallen Leaf Press, 1993. ISBN 0914913263. ML 128.O5 R2 1993. Provides a list of sources for excerpts from A Fugal Overture, “Ballet Music” from The Perfect Fool, The Planets, and the Somerset Rhapsody. 582. Rapp, Willis M. “Gustav Holst.” In the Wind Band Masterworks of Holst, Vaughan Williams, and Grainger , pp. 1–27. Galesville, MD:

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Meredith Music Publications, 2005. ISBN 1574630385. MT 135.R37 2005. Analysis of selected band compositions: First Suite in E-Flat , Second Suite in F and Hammersmith. Includes biographical sketch, bibliography, and discography. 583. Rehrig, William H. and Paul E. Bierley. “Holst, Gustav (1874–1934).” In The Heritage Encyclopedia of Band Music: Composers and Their Music, vol. 1, p. 349, and vol. 3, pp. 382–383. Westerville, OH: Integrity Press, 1991. ISBN 0918048087. ML 102.B35 R4 1991. A list of original works and arrangements for band of Holst’ s music. The print version of the Encyclopedia lists eighteen arrangements in the original list; the replacement list in the Supplement (vol. 3) lists twenty-eight works. The revised and enlar ged CD-ROM edition (2005) of the Encycloped ia lists thirty-seven works (some with multiple arrangements). Includes publisher and/or arranger information. 584. Reynish, Timothy. “Contemporary British Music for Band and Wind Ensemble.” In The Wind Ensemble and Its Repertoire: Essays on the 40th Anniversary of the Eastman W ind Ensemble, edited by Frank J. Cipolla and Donald R. Hunsber ger, pp. 187–192. Rochester , NY: University of Rochester Press, 1994. ISBN 1878822462. ML 1300.W58 1994. Traces the history of brass and wind band composition by British composers, from the initial enthusiasm by Gustav Holst, Ralph Vaughan Williams, and Gordon Jacob through the fallow period between 1924 and 1960, to the contemporary resurgence. 585. Salazar, Adolfo. “Dos Ingleses: Vaughan Williams y Gustav Von Holst.” In Sinfonia y Ballet , pp. 158. Madrid: Editorial Mundo Latino, 1929. ML 60.S19 S4. Not available for examination. 586. Saltonstall, Cecilia Drinker and Henry Saltonstall. “Holst, GustavTheodore 1874–1934.” In A New Catalog of Music for Small Or chestra, pp. 323. Clifton, NJ: European American Music Corp, 1978. ISBN 0913574147. ML 128.O5 S3. Provides brief information on Brook Green Suite and Two Songs without Words. 587. Selective Music List for Bands . 8th ed. Nashville, TN: National Band Association, 2001. 96 p. ML 132.B23 N2 1972. Several of Holst’s works for band are represented in this list: First and Second Suites, Hammersmith, plus arrangements: Capriccio (arr. John Boyd),

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Somerset Rhapsody (arr. Clare Grundman); A Moorside Suite (arr. Denis Wright), “Jupiter” and “Mars” from The Planets (arr. Smith). 588. Toskey, Burnett R. “Holst, Gustav.” In Concertos for Violin and Viola: A Comprehensive Encyclopedia, pp. 377–378. Seattle, WA: B. R. Toskey, 1983. ISBN 0960105484. ML 128.V5 T68 1983. Annotated list includes biographical information and publisher information for A Fugal Concerto, and the Double Concerto. 589. Upton,George P. The Standard Concert Guide; a Handbook of the Standard Symphonies, Oratorios, Cantatas, and Symphonic Poems for the Concert Goer. Rev. and enlarged ed. Chicago, IL: A. C. McClurg, 1930. xvi, 502 p. MT 90.U63 1930. Includes descriptive analyses for The Planets and the suite Beni Mora. 590. Upton, George P. and Felix Borowski. The Standard Concert Guide. New and rev. ed. Garden City, NY: Halcyon House, 1947. xxiii, 486 p. MT90.U63 1947. Reprints the program notes for The Planets and Beni Mora and adds notes for the St. Paul’s Suite. 591. Votta, Michael. The Wind Band and Its Repertoir e: Two Decades of Research as Published in the College Band Dir ectors National Association Journal. Donald Hunsberger Wind Library. Miami, FL: Warner Brothers, 2003. iii, 251 p. ISBN 0757918336. ML 1300.W57 2003. Reprints two articles by Jon C. Mitchell from the CBDNA Journal: “Gustav Holst: The Hammersmith Sketches” and “The Premieres of Hammersmith” (see nos. 764–765) 592. Williams, Michael D. Music for Viola. Detroit Studies in Music Bibliography. Detroit, MI: Information Coordinators, 1979. 362 p. ISBN 0911772952. ML 128.V36 W53. Includes information about the Lyric Movement for viola and orchestra (and piano reduction). Articles 593. “Chicago Symphony Orchestra Rosenthal Archives.” Chicago Symphony Orchestra. http://cso.org/About/History/Default.aspx (accessed June 5, 2010). The Archives contain records of the U.S. premieres given by the Orchestra, including The Planets, The Hymn of Jesus , “Ode on a Grecian Urn” (First Choral Symphony), and the Choral Fantasia.

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594. Doran, Joseph L. “A Question of Taste in High School Band Music.” Music Educators Journal 42, no. 6 (June–July 1956): 55–58. Advocates for quality music to be part of the high school band repertoire, including that of Holst, whose music is described as “some of the best music yet.” (p. 57). 595. Hoby, Charles. “Wind Bands and Music.” Proceedings of the Musical Association 55 (1928): 1–29. Holst’s contributions are included in the discussion of British composers in this historical chronicle of the wind band. 596. Holst, Imogen. “Holst’s Later Orchestral Works.” Listener 40, no. 1017 (July 22, 1948): 141. Preview of an upcoming broadcast of the Double Concerto and excerpts from The Planets. Imogen feels the Double Concerto “holds much of the essential Holst in its three movements.” 597. Holvik, Karl M. “An Emerging Band Repertory: A Survey of the Members of the College Band Directors National Association.” Journal of Band Research 6, no. 2 (spring 1970): 19–24. The survey tallied responses to questions about performances from 1961– 1966; Holst’s Suite No. 1 in E Flat, Suite No. 2 in F, and A Moorside Suite were ranked in the top thirty most frequently performed pieces. 598. Kish, David L. “A Band Repertoire Has Emer ged.” Journal of Band Research 41, no. 1 (fall 2005): 1–12. Kish replicates the study done by Karl Holvik to determine whether a deﬁnitive band repertoire had emerged in the past forty years. In the current study, concert programs from seventy-eight colleges and universities were collected. Holst was the fourth most-performed composer overall, with the Suite No. 1 in E-Flat the most-performed composition and Suite No. 2 in F the third most-performed piece. 599. Mitchell, Jon C. “Gustav Holst: The Band Works in Retrospect,” parts 1 and 2. Journal of the British Association of Symphonic Bands and W ind Ensembles 2 (spring 1983): 10–18; 3 (autumn 1983), p. 18. A survey of Holst’s band works. 600. Mitchell, Jon C. “Gustav Holst: The Other Works for Band.” Journal of Band Research 16, no. 2 (spring 1981): 1–12. Survey of Holst’s lesser-known works for band: Incidental Music for a London Pageant (H114), Morris Dance Tunes (H App. III, 12), Three

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Folk Tunes (H106A), Festival Choruses (H134, H App. III, 17), A Moorside Suite (H 173), and Marching Song (H88). 601. Mitchell, Jon C. “Thematic ‘Borrowings’ in the Holst Band Works.” Journal of the British Association of Symphonic Bands and Wind Ensembles 4, no. 1 (spring 1985): 28–29. Examines thematic material and its origins. 602. Perry-Bowder, Libbie E. “Idea Bank: Favorite Music for Performing Groups.” Music Educators Journal 75, no. 8 (April 1989): 46–49. Holst’s two Suites for Military Band are included in the list for band, grades 7–12. 603. Powell, Sean R. “Recent Programming Trends of Big Ten University Wind Ensembles.” Journal of Band Research 44, no. 2 (spring 2009): 1–12. A study of programming trends of the premier wind ensembles at Big Ten universities, 2002–2006. Holst’s Hammersmith was one of the mostperformed works; the Suites were ranked in the middle of the list. Holst was the fourth most-performed composer overall. 604. Randall, Mac. “Powerful Performances.” Teaching Music 15, no. 4 (February 2008): 32–34, 36. Programming student ensemble concerts can prove to be a challenge; the key is to choose repertoire that highlights the group’ s strengths while teaching something new to players at all ability levels. Holst’ s Suite No. 1 in E ﬂat and an arrangement based on “Jupiter” from The Planets (The Bringer of Joy, arranged by Roy Phillippe) are cited as good examples. 605. Reynish, Timothy. “A New Wind Work from Holst.” Musical Times 125, no. 1697 (July 1984): 375–377. Reassessment of several of Holst’s lesser-known works for winds on the occasion of the ﬁftieth anniversary of Holst’s death: the two wind quintets, music for the Festival of Empire, Marching Song, Three Folk Tunes (title given by Imogen Holst to a previously unnamed march), A Moorside Suite, and Hammersmith. The author notes that the original manuscript of Hammersmith has been lost, as are the two sets of Morris Dance Tunes transcribed for military band. Many performance problems exist in current scores for the Suites; a new edition by Colin Matthews is planned. Dissertations and theses 606. DeSarno, Ruth Ethel. “An Investigation of British Brass Band Literature and Subsequent Transcriptions for Wind Ensemble.” Ph.D. diss., University of California, Los Angeles, 1994. 2 vols.

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Three typical works for brass band and transcribed for wind ensemble are identiﬁed and analyzed in this study: Holst’s Moorside Suite, Edward Elgar’s The Severn Suite , and John Ireland’ s Comedy Overture. The author provides a transcription of John McCabe’s Cloudcatcher Fells for wind ensemble in the second volume of the dissertation. Includes musical examples and bibliographical references. 607. Gilbert, Jay Warren. “An Evaluation of Compositions for Wind-Band According to Speciﬁc Criteria of Serious Artistic Merit: A Replication and Update.” D.M. diss., Northwestern University, 1992. viii, 290 leaves. The study replicates and updates the study of band literature performed by Acton Eric Ostling, Jr. in 1978. Holst works selected for merit in the Gilbert study include Hammersmith and the two Suites. 608. Hopwood, Brian Keith. “Wind Band Repertoire: Programming Practices at Conventions of the College Band Directors National Association.” D.M.A. diss., Arizona State University, 1998. ix, 212 leaves. This study of wind band literature performed at national and regional conventions of the College Band Directors National Association from 1951 through 1995 cites Holst as the eleventh most-performed composer, based on the number of works programmed and number of performances given. Several compositions by Holst are found on the list of mostperformed works: Hammersmith, First Suite in E-ﬂat, Second Suite in F, Dance of the Spirits of Fire, A Moorside Suite: March. Contains a review and discussion of wind band literature, but no musical analysis. 609. Mitchell, Jon C. “Gustav Holst: The Works for Military Band.” Ed. D. diss., University of Illinois at Urbana-Champaign, 1980. xiv, 300 leaves. Examines six of Holst’s works for military band for their compositional style. General stylistic characteristics found in these works are compared to those found in his choral works, as delineated by Edmund Rubbra and Max Krone in their analyses of Holst’ s choral works (see nos. 449 and 647, respectively). Works analyzed include the First Suite in E Flat, Second Suite in F, Hammersmith, A Moorside Suite, Two Songs without Words, and Incidental Music for a London Pageant . Includes musical examples and bibliography. 610. Ostling, Acton Eric. “An Evaluation of Compositions for Wind Band According to Speciﬁc Criteria of Serious Artistic Merit.” Ph.D. diss., The University of Iowa, 1978. v, 387 leaves. The study identiﬁes 314 band works as meeting a speciﬁc set of quality criteria. The study included several works by Holst: Hammersmith, the Two Suites, I Vow to Thee, My Country (arr. by Robert Grechesky), Two Songs without W ords, A Moorside Suite, A Somerset Rhapsody

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(arr. Clare Grundman), Capriccio (transcribed by John Boyd), and two arrangements of the ballet music from The Perfect Fool (arrangements by Dale Harpham and Francis Marcinyak). 611. Peterson, Donald Leslie. “The University Band: Its Repertoire and the Prospective Music Educator.” D.M.A. diss., Arizona State University, 1986. xii, 183 leaves. Reports results of a survey of high school and college band directors regarding the role of the college band and its repertoire in the education of prospective music educators. A list of twenty key works ideally experienced during a college career was compiled. Holst’s First Suite in E-Flat and Second Suite in F ranked ﬁrst and second overall by high school and college directors; Hammersmith ranked as eighteenth. 612. Suk, Richard Eugene, Jr . “Repertoire Selection Practices of Class B and C Illinois High School Bands.” Ed.D. diss., University of Illinois at Urbana-Champaign, 2003. ix, 151 leaves. Holst’s First Suite in E-Flat was found to be among the most programmed works in this study of programming practices of smaller high school band programs in Illinois. The purpose of this study was to investigate reper toire selection, to determine factors affecting repertoire selection, and to produce a list of compositions performed by small- to medium-sized high school bands. Chamber and instrumental Monographs and chapters 613. Cohn, Arthur. “Holst, Gustav (1874–1934).” In The Literature of Chamber Music, vol. 2, pp. 1273–1274. Chapel Hill, NC: Hinshaw Music, 1997. 4 vols. ISBN 0937276162. ML 1100.C63 1997. A descriptive analysis of Terzetto. 614. Evans, Edwin. “Holst, Gustav Theodore.” In Cobbett’s Cyclopedic Survey of Chamber Music , vol. 1, compiled and edited by Walter Willson Cobbett, pp. 568–569. London: Oxford University Press, 1929. 2nd ed., 1963. Reprint, London: Oxford University Press, 1986. ML 1100.C7. Discussion and musical examples chieﬂy center on Terzetto, but the following chamber works are also discussed: Seven Scottish Airs, Savitri, and the Four Songs for Voice and Violin. 615. Hinson, Maurice. “Gustav Holst.” In Guide to the Pianist’s Repertoire, 3rd ed., p. 408. Bloomington: Indiana University Press, 2000. ISBN 0253336465. ML 128.P3 H5 2000.

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Annotated list of Holst’ s music for solo piano; includes publication information for the pieces. 616. Hinson, Maurice and Wesley Roberts. The Piano in Chamber Ensemble: An Annotated Guide. 2nd ed. Bloomington: Indiana University Press, 2006. xlvii, 668 p. ISBN 0253346967. ML 128.C4 H5 2006. Annotated list includes one work by Holst, A Fugal Concerto. The annotation includes a brief description of the work’s style, tempo, and publisher. 617. Rangel-Ribeiro, Victor and Robert Markel. Chamber Music: An International Guide to Works and Their Instrumentation. New York: Facts on File, 1993. xiv, 271 p. ISBN 0816022968. ML 128.C4 R3 1993. A table-style listing of chamber music (arranged by composer) includes Gustav’s Wind Quintet and Imogen’s String Quintet. 618. Secrist-Schmedes, Barbera. Wind Chamber Music: For T wo to Sixteen Winds: An Annotated Guide. Lanham, MD: Scarecrow Press, 2002. ix, 307 p. ISBN 0810842467. ML 128.W5 S43 2002. The guide includes Holst’ s Terzetto and an arrangement of A Moorside Suite. Each entry includes a citation, an annotation, and a discography. Articles 619. Clark, Gordon. “Gustav Holst: Some Pianoforte Pieces.” Canon 2, no. 11 (June 1949): 534. Contains a survey of Holst’s music for piano, which “bears the stamp of his highly individual style” as part of a review of two pieces published by Oxford University Press ( Chrissemas Day in the Morning and Two Folk Song Fragments). Choral and vocal Monographs and chapters 620. Banﬁeld, Stephen. “Spiritual Pursuits: The Later Vaughan Williams, Rubbra and Holst.” In Sensibility and English Song: Critical Studies of the Early 20th Century, pp. 328–340. Cambridge: Cambridge University Press, 1988. xvii, 619 p. ISBN 052137944X. ML 2831.B35 1988. Holst is discussed in the “Postscript” section of the text in connection with his student Edmund Rubbra, as Banﬁeld describes Holst’s position in the history of English song as “curiously insubstantial” (p. 334). The discussion includes a summary of Holst’ s songs and his compositional style and inﬂuences with particular attention given to the twelve Humbert Wolfe settings (H174). There is a list of Holst’s songs (excluding folk-song

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arrangements), prepared from the thematic catalog by Imogen Holst, in an appendix. 621. Barlow, Harold and Sam Morgenstern. A Dictionary of Opera and Song Themes: Including Cantatas, Oratorios, Lieder, and Art Songs. Rev. ed. New York: Crown Publishers, 1976. 547 p. ISBN 0517525038. ML 128. V7 B3 1976. Includes simple melody lines for the main themes of the following works: Four Songs for V oice and Violin, The Heart W orships, “Hymn to the Waters” (Choral Hymns from the Rig Veda), I Love My Love, In the Bleak Midwinter, The Sergeant’s Song, This Have I Done for My T rue Love, Turn Back O Man, and Wassail Song. 622. Burnsworth,Charles C. Choral Music for Women’s Voices: An Annotated Bibliography of Recommended Works. Metuchen, NJ: Scarecrow Press, 1968. 180 p. ML 128.V7 B87. Several of Holst’s works are listed as recommended pieces: A Dream of Christmas, Ave Maria, Choral Hymns fr om the Rig Veda (2nd Group, no. 3), Four Old English Carols, Hecuba’s Lament, Hymn to Dionysus , and Love on My Heart from Heaven Fell. Each entry gives information on required voices, duration, range, difﬁculty, publication, and brief annotation; unfortunately Holst’s name is inconsistently entered and spelled (e.g., varies between “G.” and “Gustave”). 623. Cofﬁn, Berton and Werner Singer. Singer’s Repertoire. 2nd ed. New York: Scarecrow Press, 1960–1962. 5 vols. ML 128.V7 C67 1960. Holst’s works are included in this classiﬁed list of works of vocal music; without annotations. Volumes are arranged by voice type. 624. Diehl, Katharine Smith. Hymns and T unes: An Index. New York: Scarecrow Press, 1966. lv, 1185 p. BV 305.D5 1966. All of Holst’ s hymn tunes are included in this index of songs from seventy-eight hymnals. For each tune, information on basic text, tune, and composer is given. 625. Espina, Noni. “Gustav Holst, 1874–1934.” In Repertoire for the Solo Voice: A Fully Annotated Guide to Works for the Solo V oice Published in Modern Editions and Covering Material from the 13th Century to the Present, vol. 1, pp. 87–90. Metuchen, NJ: Scarecrow Press, 1977. ISBN 0810809435. ML 128.S3 E8. Annotated list of solo vocal songs. Presents information on the source of text, date, level of difﬁculty, range, and whether the song is available in a collection.

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626. Frost, Maurice. Historical Companion to Hymns Ancient & Modern . London: W. Clowes, 1962. xvi, 716 p. ML 3166.H58. The index entry contains brief biographical details and points to entries in the main text for three of Holst’s hymn-tunes found in the hymnal Hymns Ancient and Modern: In the Bleak Midwinter (Cranham), From Glory to Glory Advancing (Sheen), and I Vow to Thee My Country (Thaxted). Each entry contains information on the source of text; the entry forFrom Glory to Glory Advancing includes parallel Greek text. 627. Hold, Trevor. Parry to Finzi: T wenty English Song Composers . Woodbridge, UK: Boydell Press, 2002. xi, 463 p. ISBN 0851 158870. ML2831.H65 2002. A survey of Holst’s songs. 628. Laster, James. Catalogue of Choral MusicArranged in Biblical Order. 2nd ed. Lanham, MD: Scarecrow Press, 1996. vi, 711 p. ISBN 081083071X. ML128.C54 L37. Includes information about Holst’s three Psalm settings: Psalms 86, 148, and 100 (an arrangement of Ravenscroft), 629. Locke, Arthur Ware and Charles K. Fassett. Selected List of Choruses for Women’s Voices. 3rd ed. Northampton: MA, Smith College, 1964. xxiii, 253 p. ML 128.V7 L63. Includes information on the following works: Ave Maria, Choral Hymns from the Rig Veda (2nd Group), Pastoral, Seven Partsongs (H162), Songs from The Princess , The Swallow Leaves her Nest . Each entry includes information on the voicing, accompaniment, duration, publisher , and grade of difﬁculty. 630. Long,Kenneth R. The Music of the English Church. New York: St. Martin’s, 1972. 479 p. ML 3131.L6. Holst and Vaughan Williams are termed the best examples of “reactionaries” against Victorian church music; some of Holst’ s “ﬁne tunes” are brieﬂy covered as part of the discussion of the hymnal Songs of Praise. 631. Manning, Rosemary. “Gustav Holst.” In From Holst to Britten: A Study of Modern Choral Music, pp. 12–19. London: Workers’ Music Association, 1949. ML 1531.M35. Manning credits Holst with the establishment of an English school of choral music, through his use of “modern” Tudor contrapuntalism and folk song. Discussion of speciﬁc works focuses on Tomorrow Shall Be My Dancing Day and The Hymn of Jesus.

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632. Newman, Marilyn Stephanie Mercedes. “Holst, Gustav.” In The Comprehensive Catalogue of Duet Literature for Female Voices: Vocal Chamber Duets with Keyboar d Accompaniment Composed Between 1820–1995 , pp. 167. Lanham, MD: Scarecrow Press, 1999. ISBN 0810836475. ML 128.V7 N53 1999. Lists sources for two arrangements of A Dream of Christmas and one for In the Bleak Midwinter. 633. Routley, Erik. Twentieth Century Chur ch Music. Studies in Church Music. New York: Oxford University Press, 1964. 244 p. ML 3131.R68. The work of Holst and Vaughan Williams serve as the starting point for this survey of twentieth-century church music. There is a brief discussion of Holst’s The Hymn of Jesus, This Have I Done for My T rue Love, and The Coming of Christ; however, the bulk of this ﬁrst chapter is devoted to Vaughan Williams. 634. Shrock, Dennis. “Gustav Holst 1874–1934.” In Choral Repertoire, pp. 679–681. Oxford: Oxford University Press, 2009. ISBN 9780195327786. ML 128.C48 2009. Provides brief biographical details and summary of Holst’ s choral output; the list of works includes information about the accompaniment, duration, and voicing. 635. Tortolano, William. Original Music for Men’s Voices: A Selected Bibliography. 2nd ed. Metuchen, NJ: Scarecrow Press, 1981. 201 p. ISBN 0810813866. ML 128.V7 T66 1981. Several unfortunate typos mar the content, starting Holst’ s incorrect birthdate. The catalog contains entries for the Choral Hymns from the Rig Veda (4th group), A Dirge for Two Veterans, Six Choruses (H186), I Vow to Thee My Country , Song of the Lumberman, Song of the Shipbuilder , and Six Choral Folksongs (H136). 636. Ulrich, Homer. A Survey of Choral Music . Harbrace History of Musical Forms. New York: Harcourt Brace Jovanovich, 1973. ix, 245 p. ISBN 0155848631. ML 1500.U44. There are brief discussions of the women’s chorus in The Planets, Choral Hymns from the Rig Veda, and The Hymn of Jesus. 637. Wasson, D. DeWitt, comp. Hymn-tune Index and Related Hymn Materials. Studies in Liturgical Musicology. 3 vols. Lanham, MD: Scarecrow Press, 1998. ISBN 0810834367. ML 3186.W2 1998. All of Holst’s hymn tunes are represented in this index. Each entry gives an incipit (in tonic sol-fa), composer information, and a list of hymnals containing the hymn.

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Articles 638. “Gustav Holst (1874–1934).” The Lied and Art Song Texts Page. http:// www.recmusic.org/lieder/h/holst.html (accessed June 5, 2010). An archive of texts for many of Holst’ s vocal works; however , several texts are not able to be viewed due to copyright restrictions. Includes information on the authorship and origin of the text. 639. “Gustav Theodore Holst 1874–1934.” Cyberhymnal.or g. http://www. cyberhymnal.org/bio/h/o/l/holst_gt.htm (accessed June 5, 2010). Four of Holst’s hymn tunes are represented here: Bossiney, Cranham, Sheen, and Thaxted. Each tune has a MIDI recording, score, texts, and information about the authorship and origin of the text. The text given for Cranham is not the traditional one (In the Bleak Midwinter) but While the World Awaited (R. Michael Cullinan, 1996). The scores are in .nwc format, which requires a plug-in to view. 640. Burton, Anthony. “Elgar, Delius, Holst: English Partsongs/Choral Works.” BBC Music Magazine 13, no. 8 (April 2005): 6–8. A brief overview and comparison of part-songs and choral works of the three composers, focusing on the works included on the covermount CD. The Holst works on the CD include Ave Maria, Welcome Song, Terly Terlow, First Love, Gr een Grass, I Love My Love , “To the Dawn,” “To the Waters,” “To Vena,” “Hymn of the Travellers” (Choral Hymns from the Rig Veda, 3rd group). Also includes a list of “key songs” on the CD, suggestions for further listening, and information on the performers. 641. Hyde, D. E. “Holst’ s Songs for Female Voices.” Music in Education 34, no. 345 (September–October 1970): 259–260; 35 no. 347 (January–February 1971): 370–371. A discussion of Holst’s writing for voice, plus a list of songs suitable for use in schools. 642. Leask, Margaret. “2009 Hymnic Anniversaries.” The Hymn 60, no. 1 (winter 2009): 12–19. Proﬁles of hymn composers celebrating anniversaries in 2009, including Holst who celebrates a seventy-ﬁfth anniversary. 643. Lycan, Mary. “Literature Forum: Repertoire for Women’s Choirs.” Choral Journal 40, no. 9 (April 2000): 33–39. Transcript of a presentation given at the 1999 American Choral Directors Association Women’s Chorus Interest Session. The survey of choral music for women’s voices outlines a number of sources of such music, including twentieth-century English girls’ schools. Holst’ s Songs from The Princess is cited as a speciﬁc example of repertoire.

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644. Routley, Erik R. “Gustav Holst: A Composer for Brave Souls.” Journal of Church Music 16, no. 8 (September 1974): 8–11. The premise of this article (and alluded to in the title) is based on a quote of Vaughan Williams—Holst’s harmonies and rhythm are “not for timid souls.” The author notes that Holst wrote little “church music,” but that several pieces could be used as such: the Two Psalms, This Have I Done for My True Love, The Evening W atch, Ave Maria, Festival T e Deum, Eternal Father Who Didst All Create, and the various hymn tunes in The English Hymnal and Songs of Praise. One obvious omission from this list is the Hymn of Jesus, as it sets a text from the NewTestament Apocrypha, and is deemed not appropriate for worship. Includes the music for the hymn-tune Brookend (in the hand of Imogen Holst). 645. Schock, Elmer. “The Shorter Works of Gustav Holst.” Choral Journal 20, no. 8 (April 1980): 23–28. Brief biographical sketch and descriptions of the part-songs, choral folksong arrangements, and canons. Holst’ s vocal works are representative of his style as a whole, and the varied levels of difﬁculty allow for both amateurs and professionals to perform the works. Includes bibliography (ten items), and a list of available editions for works discussed. Dissertations and theses 646. Daugherty, Leonard Valson. “Gustav Holst as a Choral Composer: His Life, Factors Inﬂuencing His Compositions, His Place in English Music, and a Consideration of the Principal Stylistic Elements of His Choral Music.” M.M. thesis, North Texas State College, 1959. v, 70 leaves. Considers the many factors such as impressionism, neo-classicism, lyricism, folk song, and Hindu epics that inﬂuenced Holst’s choral writing. Two composers, Richard Wagner and Ralph Vaughan Williams, also provided inﬂuence. Sources of texts for the choral works are examined. Includes a chronological list of Holst’s published choral music. 647. Krone, Max T. “The Choral Works of Gustav Holst.” Ph.D. diss., Northwestern University, 1940. iii, 575 leaves. A comprehensive catalog of Holst’ s choral works. A chronological discussion of the works is followed by a summary of Holst’ s style, including remarks on his mysticism, choice of texts, use of modes and scales, tonality, counterpoint, meter, harmony, choral writing, and orchestration. The volume also includes a biographical sketch, chronology, alphabetical list of works, annotated bibliography , plus many musical examples tipped in.

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648. Smith, Allison Renee. “A Study of English-Language Sacred Solo Literature by Selected Twentieth-Century Composers.” D.M.A. diss., The Southern Baptist Theological Seminary, 2003. viii, 203 leaves. Holst is one of the twenty-four composers selected as a representative composer of English-language sacred music. A biographical sketch is followed by a discussion of Holst’ s religious beliefs, compositional style, and his contributions to sacred solo literature. An annotated list of sacred solo works is given, with references to publishers and recommended readings and discography. Works included: Four Songs for Voice and Violin, The Heart W orships, Margrete’s Cradle Song, Peace , and Slumber Song. Uncompleted/projected works 649. Gregory, Robin. “The Uncompleted.” Monthly Musical Record 80, no. 921 (November 1950): 233–237. With the title of First Choral Symphony , it is assumed that Holst was contemplating another work along these lines. However, there is nothing except a well-marked copy of Meredith’ s poetry that may have formed the basis of a new work.The author notes that these projected works often provoke interest and questions that can rarely be answered, as is shown by the list of works discussed in the remainder of the article. Studies of multiple genres and/or works 650. “Vaughan Williams and Holst.” In The Twentieth Century, edited by Stephen Banﬁeld, pp. 179–192. The Blackwell History of Music in Britain. Oxford: Blackwell, 1995. 571 p. ISBN 0631174249. ML 285.A83. The instrumental music discussed in this section of the volume represents the most extensive discussion of Holst’s music in this survey of English music. The operas are discussed on pp. 349–352. 651. Block, Tomas. “Singing in the Sunlight: A Study in Selected Early Works by Gustav Holst.” Skrifter från Institutionen för Musikvetenskap, Göteborgs universitet. Göteborg: Institutionen för musikvetenskap, Universitet, 2000. ii, 253 p. ISBN 9185974587. ML410.H748 B58 2000. Based on the author’s dissertation (Ph.D., University of Göteborg, 2000). Holst’s early life and music (roughly the ﬁrst decade of the twentieth century) is explored against three basic themes pertinent to his time in history: Holst and musical nationalism, challenges to the religious status quo, and modernism in the arts. Several works are discussed in detail,

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including the Walt Whitman Overture, The Cotswolds, Indra, Beni Mora, A Somerset Rhapsody, Savitri, and Phantastes. 652. Blom, Eric. Music in England . Harmondsworth: Penguin Books, 1942. 220 p. ML 285.B6 M8 Includes a discussion of Holst’ s music in chapter 12, “The Century.”

Twentieth

653. Brian, Havergal. “Gustav Holst: An English Composer .” In Havergal Brian on Music: Selections fr om His Journalism , edited by Malcolm MacDonald, vol. 1, pp. 288–292. London: Toccata Press, 1986. 2 vols. ISBN 0907689191. ML 60.B8625 1986. Proﬁle and discussion of Holst’s works originally published in theMusical Opinion (January 1940): 154–155. 654. Hutchings, Arthur. “Gustav Holst.” In New Oxford History of Music , edited by Martin Cooper, vol. 10, pp. 513–518. Oxford: OxfordUniversity Press, 1974. ISBN 0193163101. ML 160.N48. The discussion of Holst’ s works centers chieﬂy on The Hymn of Jesus and how to classify Holst’s works, because they don’t really fall into neat categories or periods. 655. Kuhn, Laura Diane. Music Since 1900 . 6th ed. New York: Schirmer Reference, 2001. xvii, 1174 p. ISBN 0028647874. ML 197.S634 2001. Works of Holst covered in the chronology section include Beni Mora, At the Boar’s Head, Choral Symphony, Double Concerto, Egdon Heath, The Golden Goose, The Perfect Fool, The Planets, Savitri, Somerset Rhapsody, and the Four Songs for Voice and Violin. 656. Mitchell, Alastair and Alan J. Poulton. A Chronicle of First Br oadcast Performances of Musical W orks in the United Kingdom, 1923–1996 . Aldershot: Ashgate, 2001. xvi, 798 p. ISBN 1859282393. ML68.M58 2001 Taken as a whole, this book provides a fascinating look at the important musical performances broadcast in the twentieth century (through 1996). The register of performances includes many works by Holst: The Golden Goose, Invocation, King Estmere, Lyric Movement, The Morning of the Year, The Mystic Trumpeter, Ode to CKS and the Oriana, W alt Whitman Overture, Choral Hymns from the Rig Veda (Third group), Wind Quintet, A Winter Idyll, and Fantasia on Hampshire Folk Songs (arr. by Imogen Holst). The register excludes single movements or extracts of works, or broadcasts by local or commercial stations, which may explain the absence of The Planets from the list.

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Articles 657. Holst, Imogen. “Unfamiliar Holst.” Listener 74, no. 1905 (September 30, 1965): 509. Discussion of the set of ﬁve programs Imogen has put together featur ing some of the smaller -scale, lesser-known works such as The Evening Watch, Seven Partsongs (H44), Terzetto, and Eight Canons. 658. Hopkins, Antony. “Holst 1874–1934.” In The Dent Concertgoer ’s Companion, pp. 291–294. London: J. M. Dent, 1993. ISBN 0460861123. MT 125.H64 1993. Provides a survey of Holst’ s works and compositional style. There is a detailed, movement-by-movement descriptive analysis of The Planets. 659. Matthews, Colin. “Some Unknown Holst.” Musical Times 125, no. 1695 (May 1984): 269–272. A survey of “unknown” works by Holst, one from each decade of his working life: the String Trio (1894), the opera Sita, Dirge and Hymneal, the ballet The Lure, and music for the ﬁlm, The Bells, (which has disappeared without a trace). All of the works were unpublished, with the exception of The Lure (however, this work had not received a public performance). Reviews of multiple works 660. “Holst’s Music at Dartington: Programme of Smaller (London), no. 50178 (June 26, 1945).

Works.” Times

Review of a concert conducted by Imogen Holst that included the partsong “Pastoral,” Terzetto, Lyric Movement, Br ook Green Suite, “How Mighty are the Sabbaths,” and the song “Betelgeuse.” 661. “Opera at Covent Garden: Holst’ s Savitri and The Perfect Fool .” Times (London), no. 43545 (January 10, 1924). Review of the British National Opera Company’ s revival of the two operas. 662. “TheUnfamiliar Holst: Nine Works at the Festival Hall.” Times (London), no. 53711 (December 11, 1956). Review of the concert by the London Philharmonic Orchestra that featured Egdon Heath, A Fugal Overture, Ode to Death, and A Choral Fantasia. 663. Limbert, K. E. “Delius, 1862–1934 [and] Holst, 1874–1934.” Review (May 1946): 113–117.

Parent’s

Discussion of Holst’s works noting performance suitability for youth.

Bibliography

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664. Mitchell, Donald. “London Music.” The Musical T imes 98, no. 1368 (February 1957): 92–93. Review of a concert devoted to lesser -known Holst works given on December 10, by the London Philharmonic Choir and Orchestra conducted by Sir Adrian Boult. Works include Choral Fantasia, Ode to Death, A Fugal Concerto , “Ballet Music” from The Perfect Fool, The Morning of the Year, Egdon Heath , and Assemble All Ye Maidens. 665. Raynor, Henry. “London Music.” The Musical Times 97, no. 1355 (January 1956): 34–38. Review of a concert given by the London Philharmonic Orchestra conducted by Sir Adrian Boult. The ﬁrst half of the concert was devoted to Holst and included the Scherzo (from an unﬁnished symphony), A Somerset Rhapsody, and the Hymn of Jesus. Recordings Monographs and chapters 666. Rasmussen, Richard Michael. “Holst, Gustav .” In Recorded Concert Band Music, 1950–1987: A Selected, Annotated Listing, pp. 163–165. Jefferson, NC: McFarland, 1988. ISBN 0899503187. ML 156.4.B5 R38 1988. The list of recordings includes the works First and Second Suites, A Moorside Suite, and two movements from The Planets (“Jupiter” and “Mars”). Some of the entries are annotated. Articles 667. “Gustav Holst.” Discogs. http://www.discogs.com/artist/Gustav+Holst (accessed June 5, 2010). User-contributed discography site; there is a brief biographical proﬁle, list of variant name forms, and links to YouTube and forum discussion. Includes commercial and self-produced releases; however , data is of variable quality. 668. “Gustav Holst.” MusicBrainz. http://musicbrainz.org/artist/3ba68671e3b5-4263-81dc-76b16b29bbc6.html (accessed June 5, 2010). This discography, with track, release, and artist metadata, is part of a user-maintained community.

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669. “Music on Record: Gustav Holst” parts 1 and 2. Audio Record Review 8, no. 10 (June 1968): 426–427; no. 11 (July 1968): 499. Discussion of Holst’ s style and discography . All of Holst’ s works are included in the list, whether recorded or not, allowing one to see what the gaps are. Accompanied by a sketch of Holst by Richard Cole. 670. Achenbach, Andrew. “A Lot More to Holst than The Planets.” Gramophone 76, no. 902 (June 1998): 17. Conductor David Lloyd-Jones discusses a new recording project of Holst works for Naxos. Lloyd-Jones feels the works selected for the disc represent Holst’s “best orchestral works.” 671. Fine, Thomas. “The Dawn of Commercial Digital Recording.” Journal 39, no. 1 (spring 2008): 1–17.

ARSC

A technical survey of the commercial digital recording process. Holst’s band suites were included on the ﬁrst all-digital commercial classical recording made in the United States issued by Telarc in 1978 (reissued as a hybrid SACD disc in 2004). This album earned the nickname “the bass drum heard ‘round the world” in its entry in the World Book Encyclopedia Yearbook. 672. Hibbs, Leonard. “Gustav Holst 1874–1934.” Gramophone Record (June 1934): 8. Biographical details and a list of recordings currently available. 673. Holst, Imogen. “Recordings of Holst’ s Music.” Recorded Sound, no. 59 (July 1975): 440–441. Recounts Gustav Holst’s experiences with recording of his works and remarks on works recorded for the 1974 centenary. Miss Holst notes that many rare Holst recordings are held by the British Institute of Recorded Sound. 674. Hughes, Eric. “The Music of Gustav Holst: A Discography.” Recorded Sound, no. 59 (July 1975): 441–446. A list of all known commercial recordings of Holst’ s music, plus BBC transcription recordings and tapes residing in the British Institute of Recorded Sound Archives. Includes 78s and LPs issued through 1974. 675. Jaffeé, Daniel. “Down to Earth: BeyondThe Planets, the Music of Holst.” http://www.gramophone.net/Issue/Page/September%202003/38/749258 (accessed June 5, 2010). Extended discographical essay provides a guide to inﬂuences and phases of Holst’s output in addition to suggesting signiﬁcant works for further listening.

Bibliography

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676. Sommerich, Phillip. “Recording: Chandos Strides into Fourth Decade.” Classical Music, no. 882 (January 17, 2009): 40. Brian and Ralph Couzens, founders of Chandos Records, made the ﬁrst end-to-end digital recording in 1978. The recording featured Holst’s The Planets, performed by the Scottish National Orchestra. 677. Stoffel, Lawrence. A Discography of Concert Band Recordings on Compact Disc: Promoting the Artistry of Band Composition . Lewiston, NY: Edwin Mellen Press, 2006. ix, 433 p. ISBN 0773458298. ML 156.4.B3 S76 2006. Discography for the seventy-three wind band compositions of the “highest artistic merit” identiﬁed in a 1992 study by Jay Gilbert. The discography features a composer index with summary information for the album entries in the main part of the text. Entries are arranged by release number/ label and include date, title, performer , recording history, and program information. Holst works included are Hammersmith (thirteen recordings) and the two Suites (ﬁfteen and fourteen recordings, respectively). STUDIES OF INDIVIDUAL WORKS At the Boar’s Head (H156) 678. Martens, Frederick Herman. The Book of the Opera and the Ballet and History of the Opera. New York: C. Fischer, 1925. 167 p. MT 95.M22. Contains a plot synopsis for At the Boar’s Head. 679. Teasdale, May Silva. 20th Century Opera at Home & Abroad, 1900 through Season 1937–1938; Nationality and Character, Time and Place of Premieres Arranged Chronologically; with Principals of Casts in the United States. New York: E. P. Dutton, 1938. ML 1705.T26 T9. Includes plot synopsis for At the Boar’s Head. Articles 680. Grace,Harvey. “At the Boar’s Head: Holst’s New Work.” Musical Times 66, no. 986 (April 1, 1925): 305–310. A preperformance analysis of Holst’ s operatic work based on extracts from William Shakespeare’s Falstaff. Includes musical examples. 681. Holst, Imogen. “Holst’s At the Boar ’s Head.” Musical Times 123, no. 1671 (1982): 321–322. Describes the genesis, composition, and ﬁrst performance of Holst’ s opera, At the Boar ’s Head in preparation for two performances and a recording project.

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682. Newman,Ernest. “At the Boar’s Head.” Musical Times 66, no. 987 (May 1, 1925): 413–414. Critic Ernest Newman’s response to criticisms of Holst’s opera at its ﬁrst performance by the British National Opera Company at Manchester , April 3, and subsequent performance at Golders Green. Newman sums it up as “a feast of good things, and a remarkably clever experiment in a quite new form” (p. 414). 683. Sanders,Julie. “‘In Windsor Forest and At the Boar’s Head’: The ‘Falstaff Plays’ and English Music in the Early Twentieth Century.” Shakespeare Survey 60 (2007): 184–195. Examines three major early twentieth-century British musical works based on the “Falstaff plays”: Edward Elgar ’s symphonic poem Falstaff (1913), Holst’s chamber opera At the Boar ’s Head (1924), and Ralph Vaughan Williams’s opera Sir John in Love . These works were greatly inﬂuenced by contemporary literary–critical and intellectual accounts of the plays. Reviews 684. “At the Boar’s Head: Mr. Holst’s New Work.” Times (London), no. 43928 (April 4, 1925). Review of the British National Opera Company production at Manchester, conducted by Malcolm Sargent. 685. Bonavia,Ferruccio. “At the Boar’s Head.” Music & Letters 6, no. 3 (July 1925): 269–275. Review of a performance of the one-act opera at the Golder Hippodrome, London.

’s Green

686. Da Capo. “Holst’s New Opera.” Musical News & Herald 68, no. 1724 (April 11, 1925): 346–348. Review of the ﬁrst performance of At the Boar’s Head. 687. Goddard, Scott. “Forecast and Review .” Modern Music 3, no. 1 (1 1 1925): 33–35. Review of At the Boar’s Head performed by the British National Opera Company. 688. Sforzando. “The First Performance of Holst’ s New Opera.” Monthly Musical Record 55, no. 653 (May 1925): 131. Brief review of At the Boar’s Head.

Bibliography

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Bells,The (H184) 689. “Catalogue of the Francis Brett Young Manuscript Collection.” Birmingham University Information Services Special Collections. http://www. nationalarchives.gov.uk/a2a/records.aspx?cat=150-fby_2&cid=3-85#3-85 (accessed June 5, 2010). There are two letters to Holst in this collection, regarding ﬁlm music for The Bells. 690. Hughes, Meirion, and Robert Stradling. The English Musical Renaissance, 1840–1940: Constructing a National Music . 2nd ed. Manchester: Manchester University Press, 2001. xxi, 330 p. First edition published asThe English Musical Renaissance, 1860–1940: Construction andDeconstruction. London: Routledge, 1993. ISBN 0719058295. ML 286.4.H84 2001. Perhaps of most interest here is the brief discussion of Holst’ s ﬁlm music for The Bells; although there are several other mentions of Holst throughout this study of the English musical renaissance. BeniMora (H107) 691. “Gustav Holst Manuscript Part of Beni Mora.” University of Exeter Special Collections. http://lib-archives.ex.ac.uk/Dserve/dserve.exe?dsq Ini=Dserve.ini&dsqApp=Archive&dsqCmd=Show.tcl&dsqDb=Catalog &dsqPos=1&dsqSearch=%28%28text%29=%27holst%27%29 (accessed June 5, 2010). Described as “a single page of the composer ’s holograph manuscript of the piano redaction … relating to the second movement.” Brook Green Suite (H190) 692. Bishop, Jeffrey S. “String Literature for Middle School.” Instrumentalist 59, no. 6 (January 2005): 50, 52, 54. Holst’s Brook Green Suite is included in this list of recommended works for middle school string orchestra. Capriccio(Jazz-Band Piece) (H185) 693. Crichton, Ronald. “Music in London: Orchestral.” The Musical Times 109, no. 1501 (March 1968): 253–254. Review of the premiere of Capriccio, a work written for a commission but never performed. The Double Concerto shared the program, given by the English Chamber Orchestra conducted by Imogen Holst.

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694. Race, Steve. “Steve Race Finds Jazz at the Museum.” (February 5, 1955): 2.

Melody Maker

Recounts his experience of seeking out the manuscript of Holst’s Capriccio (formerly titled “Jazz-Band Piece”) at the British Museum. Race feels that Holst has merely written “Holstian music jazzed up” that ultimately fails; not unlike Igor Stravinsky’s Ebony Concerto. Choral Fantasia, A (H177) 695. “Mendelssohn and Holst, an English Choral Fantasia.” Times (London), no. 45923 (September 9, 1931). Review of the premiere of A Choral Fantasia at the Three Choirs Festival. 696. Artemas-Polak, Natalie. “Gustav Holst’ s Choral Fantasia.” Suite101. com. http://classicalmusic.suite101.com/article.cfm/gustav_holsts_choral_ fantasia (accessed June 5, 2010). Traces the genesis and inﬂuences for the Choral Fantasia plus a discussion of the work’s ﬁrst performance and impact. 697. Martin,T. L. “Holst’s Choral Fantasia.” Monthly Musical Record 61, no. 729 (September 1931): 265. Preview of the work to be performed at the Three Choirs Festival. Choral Hymns from the Rig Veda (1st–4th groups, H97–H100) 698. “Holst’s Rig Veda Hymns.” Times (London), no. 43001 (April 8, 1922). Review of a concert by the Bach Choir , conducted by Ralph Vaughan Williams. 699. Mitchell, Jon C. “James Causley Windram’s Military Band Settings of Gustav Holst’s Choral Hymns from the Rig Veda.” Journal of Band Research 30, no. 1 (fall 1994): 69–77. Describes the context surrounding arrangement of three movements from Holst’s Rig Veda Hymns (“Battle Hymn,” “T o Vena,” and “Hymn of the Travellers”) by military bandmaster James Causley Windram (1886–1944). 2ndGroup 700. Boult, Adrian C. “Music Students’ Social: A Performance of Mr . Von Holst’s Partsongs from the Rig V eda.” Morley College Magazine 26, no. 6 (May 1917): 89–90.

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Report of a talk by Mabel Bode on Sanskrit in preparation for a performance of the Choral Hymns from the Rig Veda (2nd group). 3rdGroup 701. Anderson, Julia S. and Jane B. Weidensaul. “Notes on the Choral Hymns from the Rig Veda (Third Group) by Gustav T. Holst.” American Harp Journal 12, no. 3 (summer 1990): 39–42. Provides a look at the genesis of the work for female chorus and harp and a brief analysis of each hymn in the group. ChristmasDay (H109) 702. Livingston, Carolyn. “The Christmas Fantasias of Vaughan Williams and Holst.” British Music: The Journal of the British Music Society 13 (1991): 59–66. A comparison of choral fantasias by Vaughan Williams (Fantasia on Christmas Carols) and Holst (Christmas Day). These works are based on traditional Christmas carols and might also be described as quodlibets. The correspondence between the two composers is silent on these works, but the works exhibit some similarities. Includes musical examples. Coming of Christ, The (H170) 703. Capell,Richard. “The Coming of Christ at Canterbury.” Monthly Musical Record 58, no. 691 (July 1928): 204. Review of a performance of Holst’s music for John Maseﬁeld’s mystery play, The Coming of Christ performed in Canterbury Cathedral. Capell describes the music as “extremely simple, and at the same time, full of character.” Cotswolds,The (H47) 704. McNaught, William. “Sir Dan Godfrey and Music in Bournemouth.” The Musical Times 75, no. 1099 (September 1934): 785–794. Survey of the work of conductor Dan Godfrey on the occasion of his retirement. A list of ﬁrst performances by the orchestra includes Holst’ s Cotswolds Symphony. DoubleConcerto (H175) 705. Macleod, Joseph Todd Gordon. The Sisters d’Aranyi . London: Allen & Unwin, 1969. 320 p. ISBN 0047800151. ML 398.M23.

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The Hungarian sisters Jelly d’Aranyi andAdila Fachiri were noted violinists in Britain from before World War I until the outbreak of the second war. They gave the premiere of Holst’s Double Concerto, and an account of that and other performances is given in this book. 706. “In the Concert Room.” Monthly Musical Record 60, no. 713 (May 1930): 140. Review of the ﬁrst performance of the Double Concerto. 707. “Works by Bliss and Holst.” Times (London), no. 45818 (September 19, 1930). Review of the second performance of the Double Concerto, given at a Promenade Concert. Duet for Organ and Trombone (H App. I, 31) 708. Hogg,Simon. “Duet for Trombone & Organ by Gustav Holst.” ITA Journal, the Quarterly Magazine of the International T rombone Association 23, no. 1 (1995): 34. Reprint of the article that appears in the version only).

Brass Bulletin (the English

709. Mitchell, Jon C. “Gustav Holst’ s Duet for Organ and Trombone.” ITA Journal 18, no. 1 (1990): 22–25. Background information and analysis of this early , yet substantial work by Holst, composed in 1894. Includes musical examples. Dissertations and theses 710. Pinson, Donald Lynn, Jr. “History and Current State of Performance of the Literature for Solo Trombone and Organ.” D.M.A. diss., University of North Texas, 2008. vi, 64 leaves. Holst’s Duo Concertante (Duet for T rombone and Organ) is cited and discussed as a pillar in the standard repertoire for trombone and or gan. The historical perspective and the current state of the repertoire were analyzed through surveys, recital programs, and interviews with performers. Includes discography, bibliography, and a list of compositions for solo trombone and organ. EgdonHeath (H172) 711. Greene, Richard. “A Musico-Rhetorical Outline of Holst’s Egdon Heath.” Music & Letters 73, no. 2 (May 1992): 244–267.

Bibliography

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From its premiere, Holst’ s tone poem Egdon Heath has provoked varied reaction—a reaction shared by its inspiration, Thomas Hardy’s The Return of the Native . Holst creates an “anti-pastoral” piece through the use of dissonance and ambiguous tonalities. Includes musical examples. 712. Sherman, Elna. “Thomas Hardy: Lyricist, Symphonist.” Music & Letters 21, no. 2 (April 1940): 143–171. A discussion of writer Thomas Hardy’s interests, including music. Includes a brief discussion of Holst and the Hardy-inspired composition, Egdon Heath. Reviews 713. “Brahmsand Holst.” Times (London), no. 44825 (February 24, 1928). Review of the ﬁrst London performance of Egdon Heath. The reviewer feels that the work is reﬂective of Holst, but not necessarily Thomas Hardy. 714. “Egdon Heath: Holst’s New Work at Cheltenham.” Times (London), no. 44785 (February 14, 1928). Review of the premiere of Egdon Heath in a concert that also included the Fugal Overture conducted by Holst. 715. “In the Concert Room: Holst’ s Egdon Heath.” Monthly Musical Record 58, no. 688 (April 1928): 109. Review of a performance at Queen’s Hall, London. 716. “PromenadeConcert: Holst’s Egdon Heath.” Times (London), no. 54004 (September 21, 1928). Review; the reviewer describes the work as “grim.” 717. Prunières, Henry. “Egdon Heath de Gustav Holst.” Revue Musicale 100 (January 1930): 66–67. Review of the ﬁrst performance of the work in France. Dissertations and theses 718. Artemas-Polak, Natalie. “Form and Harmonic Language in Holst’s Egdon Heath, Opus 47.” M.M. thesis, Faculty of Graduate Studies, University of Western Ontario, 1990. 99 p. Not available for examination.

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719. O’Neale, David. “An Analytic Study of Gustav Holst’ s Egdon Heath.” M.M. thesis, University of London (Goldsmiths’), 1980. Not available for examination. EternalFather (H169) 720. Blezzard, Judith H. “New Initiatives, Old Music, and New Discoveries.” Current Musicology, no. 48 (1990): 69–73. Describes the author ’s current research with recently discovered cor respondence and manuscripts of Holst’ s anthem Eternal Father and Vaugham Williams’s Te Deum in G. FirstChoral Symphony (H155) 721. “Two Choral Composers: Holst and Vaughan Williams.” Times (London), no. 44095 (October 17, 1925). Preview of an upcoming Royal Philharmonic Society concert to include Holst’s Choral Symphony and Vaughan Williams’s Flos Campi. 722. Newman, Ernest. “Holst’s Choral Symphony.” Sunday Times (London), no. 5348 (October 11, 1925); no. 5349 (October 18, 1925): 7. Reprinted in From the World of Music: Essays from the Sunday Times, selected by Felix Aprahamian, pp. 93–100. London: J. Calder, 1956. Also published: New York: Coward-McCann, 1957. ML 60.N49. Descriptive analysis of the First Choral Symphony , with particular attention to Holst’s text setting. 723. Oliver, Stanley. “Holst’s Later Works.” Musical Times 80, no. 1154 (April 1939): 293–294. Oliver recounts the variety of critical responses to performances of “Ode to a Grecian Urn” (from the First Choral Symphony) given by the Schola Cantorum of Wellington, New Zealand. 724. Rubbra, Edmund. “Holst and His Choral Symphony.” Listener 37, no. 954 (May 8, 1947): 738. Assessment of Holst’s signiﬁcance and a description of the work. 725. “Symphonies and Poets: The New Eclecticism.” Times (London), no. 44083 (October 3, 1925). Preview and assessment of the First Choral Symphony.

Bibliography

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726. Fox-Strangways,A. H. “Holst’s Choral Symphony.” Observer, no. 7012 (October 18, 1925): 10. A description of the main themes of the work. 727. Grace, Harvey. “Ad Libitum.” Musical Times 66, no. 994 (December 1925): 1086–1088. Discusses the various critical responses to the Leeds and London performances of the First Choral Symphony. 728. Grace, Harvey. “Holst’s Choral Symphony.” Musical Times 66, no. 992 (October 1925): 892–896. Analysis and commentary. 729. Hein, Hartmut. “Die First Choral Symphony von Gustav Holst: Die Geburt einer Vokalsymphonie aus dem Geiste Nietzsches?” Archiv für Musikwissenschaft 54, no. 1 (1997): 34–67. Hein cites Holst’s First Choral Symphony as a worthy example of the “vocal symphony” genre. He also explores the often-overlooked inﬂuence of Nietzschean philosophy in early twentieth-century Britain. Includes musical examples and schematic form analysis. 730. Howes, Frank. “Choral Ode.” Music & Musicians 12, no. 5 (January 1964): 22. Examines Holst’s setting of the text by John Keats in the Symphony.

First Choral

Reviews 731. “Choir’s Brave Undertaking: Holst’s Choral Symphony.” Times (London), no. 53256 (June 25, 1955). The “brave undertaking” was made by the London Philharmonic Choir and Orchestra of “a work of little or no box ofﬁce appeal.” 732. “Holst Does Not Receive Full Justice.” (January 23, 1964).

Times (London), no. 55916

Review of a performance of the First Choral Symphony conducted by Malcolm Sargent. The reviewer expresses regret at the neglect of this symphony after the performance. 733. “Leeds Musical Festival: Holst’ s Choral Symphony.” Times (London), no. 44087 (October 8, 1925). Review of the ﬁrst performance.

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734. “Philharmonic Society: Holst’s Choral Symphony.” Times (London), no. 44106 (October 30, 1925). Review of the Leeds Choir performance. 735. “Rare Revival of Holst’s Choral Symphony.” Times (London), no. 50758 (May 12, 1947). Review of the fourth performance of the work, given by the Royal Choral Society conducted by Malcolm Sar gent. The reviewer thought the per formance revealed not only the work’s “extraordinary originality, but the real power of the work.” 736. Hussey, Dyneley. “Disappointment of Mr. Holst in His Choral Symphony.” Saturday Review 140 (November 7, 1925): 533. Review. 737. McNaught, William. “The Leeds Festival: First Choral Symphony by Gustav Holst.” Musical Times 66, no. 993 (November 1925): 1007–1008. Review of the work’s ﬁrst performance. 738. Newman, Ernest. “Holst’s Choral Symphony.” Times (London), no. 46726 (April 12, 1934). Reprinted as “Holst: Words and Music.” In More Essays from the World of Music: Essays from the London Sunday Times, selected by Felix Aprahamian, pp. 71–74. New York: Coward-McCann, 1958. Also published: London: J. Calder, 1958. ML 60.N493 1958. Review of a program of English music by the BBC Orchestra. This was the ﬁrst performance of the Choral Symphony since its premiere in 1925; the reviewer felt that “time has not dealt altogether kindly with this work” despite Holst’s admirable text setting. 739. Turner, Walter James. “Holst’s Choral Symphony.” New Statesman 26 (November 7, 1925): 1 10–111. Reprinted in: Musical Meanderings, pp. 47–52. London: Methuen, 1928. ML 60.T965. Review of the performance by the Leeds Festival Choir;Turner questions Holst’s choice of text for the work. First Suite in E-Flat (H105) Monographsand chapters 740. Garofalo, Robert Joseph. “First Suite in E-Flat by Gustav Holst.” In Guides to Band Masterworks , pp. 41–58. Ft. Lauderdale, FL: Meredith Music Publications, 1992. ISBN 1574630229. MT 125.B25 1990. An instructional unit for teaching this piece to secondary school band.

Bibliography

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Articles 741. Fennell, Frederick. “The Holst Suite in E-Flat.” Instrumentalist 29 (April 1975): 27–33. Analysis of the work and suggestions for performance. 742. Langﬁtt, Nathan A. “Percussion in Holst’ s First Suite.” Instrumentalist 62, no. 10 (May 2008): 42, 44, 46–48. A discussion of the percussion parts in each movement of Holst’ s Suite No. 1 in E ﬂat. Includes photographs of the recommended percussion set-up, Holst’s birthplace (exterior), music room, and the Bernard Munns portrait of Holst. 743. Udell, Budd. “Standard Works for Band: Gustav Holst’ s First Suite in E-Flat Major for Military Band .” Music Educators Journal 69, no. 4 (December 1982): 27–30. Score study with hints for performance. Includes musical examples and brief bibliography. Review 744. “Brahmsand Holst.” Times (London), no. 42517 (September 16, 1920). Review of a performance of the Suite for military band at the Queen’ s Hall. Dissertations and theses 745. Tarwater, William Harmon. “Analysis of Seven Major Band Compositions of the Twentieth Century.” Ph.D. diss., George Peabody College for Teachers, 1958. v, 247 leaves. Provides a formal analyses and rehearsal suggestions for seven major twentieth-century works for band. In addition to Holst’ s Suite in E-ﬂat, works analyzed include Symphony in B-ﬂat (Paul Hindemith), Music for a Festival (Gordon Jacob), Divertimento, Symphony, and Psalm (Vincent Persichetti), and Toccata Marziale (Ralph Vaughan Williams). The appendix contains the results of a survey asking members of the College Band Directors National Association about best original and transcribed band works performed in the last ﬁve years. Holst landed on top of the chart for original band works (with the First Suite in E ﬂat most frequently mentioned; the Second Suite in F was third).

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Scores 746. “First Suite in E Flat .” IMSLP/Petrucci Music Library . http://imslp.org/ wiki/First_Suite_for_Military_Band,_Op.28_No.1_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains scanned full score, condensed score, performing parts (all Boosey & Hawkes, 1921), and an arranged version for trumpet and euphonium. 747. “First Suite in E Flat , Op. 28a.” Naxos Sheet Music Library . http:// www.freehandmusic.com/biblionet/ProductDetail.aspx?ProdID=311125 (accessed June 1, 2010). Full score and parts from the 1909 edition; includes audio clip. Video 748. Some Things I Believe: H. Robert Reynolds with T im Lautzenheiser. (DVD). Chicago, IL: GIA, 2010. DVD-825. 194:00. Wind band conductor H. Robert Reynolds is interviewed by Tim Lautzenheiser. Includes excerpts from Reynolds’ s last concert at the University of Michigan, featuring Holst’s First Suite in E-ﬂat. FivePartsongs (H48) 749. “Reviews.”The Musical Times 40, no. 674 (April 1899): 250. Early reviews of Holst’s part-songs “Love is Enough” and “To Sylvia.” 750. “Reviews.”The Musical Times 41, no. 684 (February 1, 1900): 103–104. This review of “To Sylvia” deems the song “written with great skill” (p. 104). FivePartsongs (H61) “Ye Little Birds” 751. Holst, Gustav. “‘Ye Little Birds’: Four -Part Song.” The Musical Times and Singing Class Circular 43, no. 712 (June 1902): 398. Score insert. “Dream Tryst” 752. Holst, Gustav. “‘Dream Tryst’: Four-Part Song.” The Musical Times and Singing Class Circular 43, no. 716 (October 1902): 667–671. Score insert.

Bibliography

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FourSongs (H132) 753. Newson, Arthur. “A Musical Experiment: Holst’ s Mediaeval Songs for Voice and Violin.” The Musician, no. 18 (February 1921): 120. Descriptive analysis with brief musical examples. Newsom ends the article by speculating on the reason for Holst’ s choice of violin as the accompanying instrument. Dissertationsand theses 754. Rutland, John Paul. “Violin and Voice as Partners in Three Early TwentiethCentury English Works for Voice and Violin.” D.M.A. diss., University of North Texas, 2005. viii, 96 leaves. Historical background, analyses, and performance suggestions for three works for violin and voice. Works examined include Holst’s Four Songs for Voice and Violin. The other works studied include Rebecca Clarke’ s Three Old English Songs and Ralph Vaughan Williams’s Along the Field: Eight Housman Songs for V oice and Violin. Includes musical examples and bibliography. Scores 755. “Four Songs for Voice and Violin.” IMSLP/Petrucci Music Library . http://imslp.info/ﬁles/imglnks/usimg/3/33/IMSLP20840-PMLP48415-4_ Songs_for_Voice_Violin___Op.__35.pdf (accessed June 5, 2010). Contains a scanned image of the J. & W. Chester score (1920). 756. Holst, Gustav. “Four Songs for Voice and Violin.” Chesterian 9, no. 68 (January–February, 1928) Reprints the score for the ﬁrst two songs of the work. FugalConcerto, A (H152) 757. Tovey, Donald. “A Fugal Concerto Op. 40 no. 2.” In Essays in Musical Analysis, vol. 2, pp. 208–210. Oxford: Oxford University Press, 1935. MT 90.T6 E8. Analysis with musical examples. 758. “Mr. Holst’s Fugal Concerto.” Times (London), no. 43470 (October 12, 1923). Review of a performance at a Promenade Concert; the program also included “Swansea Town” performed by the Halifax Madrigal Society.

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FugalOverture, A (H151) 759. Tovey, Donald. “Fugal Overture for Orchestra.” In Essays in Musical Analysis, vol. 2, pp. 210–212. Oxford: Oxford University Press, 1935. MT 90.T6 E8. Analysis with musical examples. GoldenGoose, The (H163) 760. “The Golden Goose : Mr. Holst’s Choral Ballet.” Times (London), no. 45427 (February 3, 1930). Review of an open-air performance at Warwick Castle. Hammersmith(H178) 761. Cantrick, Robert. “Hammersmith and the Two Worlds of Gustav Holst.” Music & Letters 37, no. 3 (July 1956): 211–220. Tells the story of Holst’ s wind ensemble composition Hammersmith, from its BBC commission in 1930 to its ﬁrst performance in Pittsburgh in 1954. In preparation for this latter performance, it was determined that the piece had never actually been performed. When parts could not be located, the author of the article prepared the parts for performance. 762. Fennell, Frederick. “Gustav Holst’ s Hammersmith.” Instrumentalist 31, no. 10 (May 1977): 52–59. Analysis and performance suggestions for this work commissioned by the BBC in 1930 for its military band. Includes musical examples and a list of corrections for early printings of the published score and parts. 763. Mitchell, Jon C. “Gustav Holst: The Hammersmith Sketches.” College Band Directors National Association Journal 2, no. 2 (winter 1986): 8–17. Traces the development of Holst’ s Hammersmith through the unusually abundant extant sketches for the work. In an ironic twist, the manuscript score for Hammersmith is missing. Includes musical examples and facsimile reproductions of selected sketches. 764. Mitchell, Jon C. “The Premieres of Hammersmith.” College Band Directors National Association Journal 1, no. 1 (spring 1984): 11–18. Recounts the tangled history of this work’s premieres. Although the work was commissioned by the BBC Military Band, it was not performed by

Bibliography

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that group; the premiere was done by the U.S. Marine Band in 1932. The premiere of Holst’s orchestral transcription took place in 1931. The work was not performed again until 1954, when the work was ﬁnally acknowledged as a major work in the band repertoire. 765. Pirie, Peter J. “In Defence of Gustav Holst.” Musical Opinion, no. 960 (September 1957): 723–725. Pirie notes that Holst is often talked about, but his works are not per formed. He uses Hammersmith as a case study , citing the difﬁculties of an American orchestra encountered when trying to perform the work. 766. Rafael, Nan. “Let’s Talk Picc: Piccolo Solos in Band Music.”Flute Talk 21, no. 3 (November 2001): 32. Provides performance suggestions for the piccolo solo in Hammersmith and other works. Includes musical examples. 767. Zembower, Christian. “Gems of Parallelism: Holst’ s Hammersmith and Respighi’s Huntingtower.” Journal of Band Resear ch 43, no. 2 (spring 2008): 64–87. Offers brief proﬁles of early wind band “musical explorers” Gustav Holst and Ottorino Respighi and a descriptive analysis of each piece. Several parallelisms are found between the two works, including the year of commission, source of inspiration, and a similar formal structure. Both works helped pave the way for more original additions to the genre. Review 768. Payne, Anthony. “Inconsequential Hammersmith.” Music & Musicians (December 1967): 47. Brief review of the orchestral arrangement of Hammersmith. Dissertations and theses 769. Young, Eileen Marie. “A Performing and Teaching Guide to the Clarinet Excerpts in Five Major Works for Band.” D.M.A. diss., The University of North Carolina at Greensboro, 1994. v, 116 leaves. Examines the clarinet parts of ﬁve major works for band, including Hammersmith by Holst. Other works studied include Lincolnshire Posy (Percy Grainger), Theme and Variations, op. 43a (Arnold Schoenber g), Symphony in B-ﬂat (Paul Hindemith), and Sinfonietta (Ingolf Dahl). Performance suggestions and technical considerations are also discussed.

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Hecuba’s Lament (H115) 770. “Schubert, Holst, and Brahms.” 27, 1929).

Times (London), no. 45162 (March

Review of a Philharmonic Choir concert that included a performance of Hecuba’s Lament. Hymn of Jesus, The (H140) 771. Tovey, Donald. “The Hymn of Jesus .” In Essays in Musical Analysis, vol. 5, pp. 250–256. Oxford: Oxford University Press, 1935. Analysis with musical examples. 772. Young, Percy M. “The Hymn of Jesus.” In The Choral Tradition, pp. 296–298. Rev. ed. New York: Norton, 1981. ISBN 0393000583. ML1500.Y71 1981. Analysis. 773. Wortham, H. E. “Mr. Gustav Holst.” In A Musical Odyssey, pp. 183–186. London: Methuen, 1924. ML 60.W83. A review of The Hymn of Jesus , originally published in (the Morning Post or Outlook). Sharing the program was Elgar ’s Dream of Gerontius. Wortham brieﬂy compares the two works and composers; in the end he feels that it is easier to prefer Elgar’s piece since he belongs spiritually to the nineteenth century. Articles 774. Boyer, D. Royce. “Holst’ s The Hymn of Jesus : An Investigation into Mysticism in Music.” Music Review 36, no. 4 (November 1975): 272–283. A study of the musical techniques used in The Hymn of Jesus to convey mystical qualities of the text: use of plainsong, dance elements, spoken words, and harmony. Holst was likely drawn to the text (from the Apocryphal Acts of St. John, writings from early Christian gnosticism) through the eastern mysticism and philosophy found while studying Sanskrit texts. 775. Capell, Richard. “Introduction to The Hymn of Jesus .” Monthly Musical Record 57, no. 674 (February 1927): 38–39. Discussion of Holst’s compositional style. 776. Dickinson, A. E. F. “Music that is Absolutely True: Holst’s Hymn of Jesus.” Radio Times 62, no. 801 (February 3, 1939): 10. Brief description of the work’s signiﬁcance.

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777. Goddard,Scott. “Holst’s Hymn of Jesus.” Listener 67, no. 1719 (March 8, 1962): 449. Descriptive analysis of the work in advance of a broadcast performance. 778. Grew, Sydney. “The South Staf fordshire Musical Festival.” Music & Letters 3, no. 1 (January 1922): 66–72. Background information on the festival, which will include aperformance of Holst’s The Hymn of Jesus. 779. Head, Raymond. “The Hymn of Jesus : Holst’s Gnostic Exploration of Time and Space.” Tempo, no. 209 (July 1999): 7–13. An examination of the Gnostic text and plainsong used by Holst in one of his most popular choral works. Although Holst speciﬁed that the two choirs be widely separated for performance, this rarely happens. Includes musical examples. 780. Rubbra, Edmund. “Last Week’s Broadcast Music.” Listener 91, no. 2345 (March 7, 1974): 313. Brief discussion of The Hymn of Jesus. Reviews 781. “Holstand Delius.” Times (London), no. 42427 (June 3, 1920). Review of a performance ofThe Hymn of Jesus given by the Philharmonic Choir and Orchestra and conducted by Holst 782. “Kodalyand Holst.” Times (London), no. 45124 (February 11, 1929). Review of a concert at Southwark Cathedral that included Holst’ s The Hymn of Jesus and Kodaly’s Psalmus Hungaricus. 783. “Parry, Holst, and Franck.” Times (London), no. 43600 (March 14, 1924). Review of a performance of The Hymn of Jesus by the Philharmonic Choir and London Symphony Orchestra, conducted by C. Kennedy Scott. 784. “Verdi, Holst, and Bach: A Study in Contrasts.” Times (London), no. 43797 (October 31, 1925). Review of the Norwich Festival performance of The Hymn of Jesus. 785. Dent, Edward J. “The Hymn of Jesus .” Athenaeum, no. 4692 (April 2, 1920): 445. Review of the premiere of work; Dent praises the work’s “startling originality and boldness” but feels the “quasi-theatrical ef fects” detract from the work’s beauty.

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786. H.,C. “The Hymn of Jesus by Mr. Gustav Holst.” Spectator 128, no. 4889 (March 11, 1922): 303. Review of a performance at the Royal Albert Hall. 787. Serbin, Max. “Reﬂections on Gustav Holst’ s The Hymn of Jesus .” American Record Guide 29, no. 7 (March 1963): 512–514. Feature review of the recording made by the London Philharmonic Orchestra and Chorus, conducted by Sir Adrian Boult (London OS-6324/ CM-9324). Serbin also provides background on the text of the work, with suggestions for further reading. 788. Walsh, Stephen. “Holst and Bruckner in a Gloriﬁed Echo Chamber .” Times (London), no. 59138 (July 13, 1974). Review of a performance of Cathedral.

The Hymn of Jesus given in St. Paul’ s

789. Wiles, Edward H. “The Hymn of Jesus .” Music Teacher 55 (October 1976): 22–23. Analysis of the form and major themes of the work. Dissertations and theses 790. Boyer, Daniel Royce. “Gustav Holst’s The Hymn of Jesus.” D.M.A. diss., The University of Texas at Austin, 1968. 135 leaves. Provides context and analysis of the choral work along with suggestions for rehearsal preparation and interpretation. Includes musical examples and bibliography. 791. Da Silva, Elias Moreira. “A Conductor’s Study of Selected Works by Antonín Dvorák and Gustav Holst.” M.M. thesis, Southwestern Baptist Theological Seminary, 1976. 108 leaves. Provides an analysis and performance considerations for Dvorák’ s Te Deum Laudamus and Holst’s The Hymn of Jesus . Includes biographical sketch. 792. Garlock, Frank W. “The Hymn of Jesus by Holst.” M.A., University of Rochester, 1959. vii, 74 leaves. This analysis of the choral work ﬁnds that Holst uses compositional devices in an unconventional way, bridging the gap between Holst’s style and traditional church music.

Bibliography

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Hymns from the Rig Veda (H90) 793. Antcliffe, Herbert. “A Decade of English Song.” Musical Quarterly 11, no. 2 (April 1925): 219–230. A survey of British song composers, 1914–1924. Includes a discussion of Holst’s Hymns from the Rig-Veda, cited as an outstanding example of the “half-accompanied” song style. His Songs for Voice and Violin are mentioned in passing later in the article. Incidental music for the Pageant of St. Martin-in-the-Fields (H App. III, 22) 794. “St. Martin’s Pageant: Sunday Revival at the Lyceum.” Times (London), no. 43502 (19 November, 1923). Review of a performance of the St. Martin’ s Pageant for which Holst provided incidental music. King Estmere (H70) 795. “King Estmere.” IMSLP/Petrucci Music Library . http://imslp.org/wiki/ King_Estmere,_Op.17_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains scanned piano reduction of the work for chorus and orchestra (Novello, 1906). Lansdown Castle, or The Sorcerer of Tewkesbury (H App. I, 21) 796. Judge, Roy. “D’Arcy Ferris and the Bidford Morris.” Folk Music Journal 4, no. 5 (1984): 443–480. A survey of the work and inﬂuence of musician, artist and producer D’Arcy Ferris. Ferris’s role in organizing a performance of Holst’s early opera Lansdown Castle is mentioned in passing. Lied ohne Worte (H51) 797. “[Editorial].”The Vocalist, no. 9 (December 1902): 258. Holst’s Lied ohne Worte (H51) is published in this issue.

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Lyric Movement (H191) 798. “Facsimiles of Manuscripts of Elgar , Delius and Holst.” Tempo, no. 7 (June 1944): 13–16, 25. Contains reproductions of manuscript pages from Cockaigne (Edward Elgar), String Quartet (Frederick Delius), and Lyric Movement (Gustav Holst) in commemoration of the tenth anniversary of the passing of the three composers. A short explanation follows on p. 25. MoorsideSuite, A (H173) 799. Newsome, Roy. “Major British Composers of Brass Band Music: Gustav Holst.” In Brass Roots: A Hundred Years of Brass Bands and Their Music (1836–1936), pp. 196–198. Aldershot: Ashgate, 1998. ISBN 1859281680. ML 1331.N49 1998. Recounts the commission of A Moorside Suite as a test piece for the 1928 Crystal Palace competition. Includes musical examples. 800. Mitchell, Jon C. “Sketches for Holst’ s A Moorside Suite .” Journal of Band Research 22, no. 2 (April 1987): 1–6. Sketches of A Moorside Suite found at the St. Paul’s Girls’ School reveal Holst’s compositional process. The suite, composed in 1928 for the National Brass Band Championships, was Holst’ s ﬁrst piece for brass band. Includes musical examples. Video 801. Tuba & Euphonium the Individual & the Ensemble . (VHS) Fort Meade, MD: U.S. Army Field Band, 1990. 90:00. Provides instruction for tuba and euphonium performance, using excerpts from Holst’s military band suites and A Moorside Suite. Morning of the Year, The (H164) 802. “Holst’s Choral Ballet.” Times (London), no. 44597 (June 2, 1927). Review of a performance of The Morning of the Y ear in a private performance at the Royal College of Music. 803. “Mr. Holst’s New Choral Ballet.” Times (London), no. 44612 (June 20, 1927). Review of a performance of The Morning of the Y ear, conducted by Holst.

Bibliography

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Morris dance tunes (Sharp) (H App. III, 12) 804. Skempton, Howard. “Holst Morris Dances.” Musical Times 123, no. 1676 (October 1982): 667. Seeks information on the whereabouts of source material for Holst’s 1911 arrangements of these tunes collected by Cecil Sharp. MysticTrumpeter, The (H71) 805. Sasnett, Kathleen. “Twenty-Five Works for Dramatic Soprano Voice and Orchestra.” Journal of Singing 65, no. 4 (March–April 2009): 407–420. The list of works suitable for dramatic soprano voice and orchestra includes Holst’s The Mystic Trumpeter. The entry for each work includes information on text, publisher, scoring, duration, and a brief justiﬁcation for its inclusion in the list. O England My Country (H103) 806. Mitchell, Jon C. “Was This Holst’s First Band Work?” In Kongressbericht Abony/Ungarn 1994, pp. 353–362. Tutzing: Schneider, 1996. ISBN 3795208475. ML 929.5.K63 1996. Holst’s ﬁrst composition for military band, the Suite No. 1 in E-ﬂat major was written in 1909. In the 1980s, a military band version of O, England, My Country (H103) was discovered, and this work may have preceded the Suite as his ﬁrst military band work. OSpiritual Pilgrim (H188) 807. Evans, David R. A. “Recent Discoveries at Aberystwyth: Welsh Music Manuscripts in the Music Department Archive.” Current Musicology, no. 59 (1995): 101–115. Recounts the history of the music department of the University College of Wales (Aberystwyth). One of the most valuable items discovered in the library was a previous unknown autograph of Holst’ s part-song O Spiritual Pilgrim, along with some letters by Holst. Includes a reproduction of the part-song manuscript. Ode to Death (H144) 808. “Holst’s Ode to Death.” Times (London), no. 43529 (December 20, 1923). Review of a performance by the Bach Choir,conducted by RalphVaughan Williams.

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809. “A New Choral Work by Holst.” Musical Times 63, no. 956 (October 1, 1922): 689–690. Analysis of the Ode to Death, a setting of Whitman for chorus and orchestra in preparation for its performance at the Leeds Festival. Includes musical examples. Dissertationsand theses 810. Kovalenko,Susan Chafﬁns. “The Twentieth Century Requiem:An Emerging Concept.” Ph.D. diss., Washington University, 1971. vii, 329 leaves. The author traces the origins of the “secular requiem” as it has evolved since World War I through the analysis of nine representative works. Holst’s Ode to Death, to texts by Walt Whitman, is included in the discussion of the works dating from World War I. 811. Sheppard, Cynthia C. “A Conductor’s Analysis of Selected Works by William Byrd, Heinrich Schütz, Alessandro Scarlatti, Michael Haydn, Johannes Brahms, Gustav Holst and Ned Rorem.” M.M. thesis, Southwestern Baptist Theological Seminary, 1985. ix, 157 leaves. Provides an analysis of the text, form, texture, melody , rhythm, tempo, and harmony found in Holst’ s Ode to Death . Includes biographical sketch, chronology, and musical examples. OperaAs She Is Wrote (H App. II, 15) 812. “English Opera As She Is W rote.” Morley College Magazine 27, no. 6 (March 1918): 77–79. A preview of a performance of Holst’s parody. 813. Green, L. Dunton. “Opera As She Is Wrote.” Morley College Magazine 27, no. 7 (April 1918): 90–91. Review. Pan’s Anniversary (Vaughan Williams) (H App. III, 1) 814. Mitchell, Jon C. “Pan’s Anniversary: Manifestation of the English Folk Song Revival and Ramiﬁcations for the British Military Band.” In Kongressbericht Northﬁeld/Minnesota, USA 2006, edited by Raoul F. Camus, Bernhard Habla, pp. 287–272. Tutzing: Schneider, 2008. ISBN 9783795212575. ML 1300.I58 2006.

Bibliography

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Descriptive analysis of the music arranged by Vaughan Williams and Holst for the masque Pan’s Anniversary. Includes a survey of other folk song–inﬂuenced compositions for band by the two composers. 815. Savage, Roger. “Alice Shortcake, Jenny Pluckpears, and the Stratfordupon-Avon Connections of Vaughan Williams’s ‘Sir John in Love’.” Music & Letters 89, no. 1 (February 2008): 18–55. Includes several incidental mentions of Holst and the Shakespeareinspired works, plus the collaboration of Vaughan Williams and Holst on the music for the masque Pan’s Anniversary. PerfectFool, The (H150) Monographsand chapters 816. Colles, H. C. “V erdi at Work.” In Essays and Lectur es, pp. 1 13–115. London: Oxford University Press, 1947. vii, 223 p. ISBN 0836919106. ML 60.C747 1947. Recalls Verdi’s method of opera writing as a prelude to remarks about Holst’s opera, The Perfect Fool . Previously published in the Times (London), May 19, 1923. 817. Corbett-Smith, Arthur. The Perfect Fool (Holst) . The National Opera Handbooks. London: Grant Richards, 1923. 46 p. MT 100.H74 C8. Synopsis and descriptive analysis of the opera, with biographical notes and list of works (compiled by Edwin Evans). 818. Ewen,David. Complete Book of the American Musical Theater; a Guide to More than 300 Productions of the American Musical Theater from the Black Crook (1866) to the Present. Rev. ed. New York: Holt, 1959. 447 p. ML 1711.E9 1959. Includes plot synopsis for The Perfect Fool. 819. Thompson, Oscar. “The Perfect Fool.” In Plots of the Operas: 266 Stories of the Operas, pp. 368–369. Cleveland, OH: World Pub., 1943. xvii, 517 p. MT 95.T54. Includes a synopsis for The Perfect Fool. 820. Tovey, Donald. “The Perfect Fool, Op. 39.” In Essays in Musical Analysis, vol. 4, pp. 169–170. Oxford: Oxford University Press, 1935. MT90.T6 E8. Analysis with musical examples.

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Articles 821. Braithwaite,Warwick. “The Perfect Fool: An Analytical Survey.” Opera 1, no. 6 (June 1923): 26–28. Analysis; addresses some critical responses to the opera (chieﬂy the length working up to the climax) and provides a few brief musical examples. 822. Calvocoressi,M. -D. “Le Parfait Sot de Gustav Holst a Covent Garden.” Revue Musicale (July 1, 1923): 262. Description of the opera The Perfect Fool (in French.). 823. White, R. T. “The Perfect Fool .” Music Teacher 3, no. 7 (July 1924): 410–412. Description of the plot and main themes of the opera. Reviews 824. “Holst’s New Ballet Music, Philharmonic Concert.” Times (London), no. 42893 (December 2, 1921). Review of the ﬁrst performance of the ballet music from Perfect Fool.

The

825. “Holst’s The Perfect Fool .” Times (London), no. 43143 (September 22, 1922). Review of a performance conducted by Holst at a Promenade Concert. 826. “London Concerts.” The Musical Times 63, no. 947 (January 1922): 40–44. Review of a Royal Philharmonic Society concert featuring the ballet music from The Perfect Fool. The review is accompanied by a reproduction of the Loeb photo of Holst. 827. “The Perfect Fool: Ballet from Holst’s New Opera.” Times (London), no. 42761 (July 1, 1921). Review of a public rehearsal at the Royal College of Music; the writer describes it as the “most interesting” of the works played. 828. “The Perfect Fool : Holst Opera at Covent Garden, a Brilliant Puzzle.” Times (London), no. 43341 (May 15, 1923). Review of the ﬁrst performance. 829. Antcliffe, Herbert. “The Perfect Fool.” Musical News & Herald (May 19, 1923): 494. Review of the ﬁrst performance.

Bibliography

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830. Bennett,A. “Gustav Holst’s The Perfect Fool .” Adelphi 1, no. 1 (1923): 58–60. Review. 831. Capell,Richard. “The Perfect Fool at Covent Garden.” Monthly Musical Record 53, no. 630 (June 1923): 161–162. Review of the work’s ﬁrst performance. 832. Chatterton, Julia. “The Perfect Fool.” Music Student (May 19, 1923): 166. Review. 833. Einstein,Alfred. “Holst’s The Perfect Fool: Some Thoughts of a German Musician.” Monthly Musical Record 53, no. 631 (July 1923): 198–199. Discusses Holst’s parody techniques and speculates if Holst’s opera will deﬁne a new style of English opera. 834. Evans, Edwin. “The Perfect Fool .” Musical Times 64, no. 964 (1923): 389–393. Analysis of the opera. Includes a reproduction of the Lambert portrait of Holst. 835. Evans,Edwin. “The Perfect Fool at Covent Garden.” Musical Times 64, no. 964 (June 1923): 423. Review of the opera’s ﬁrst performance. 836. Kalisch, Alfred. “The Perfect Fool .” English Review 36 (June 1923): 593–596. Discussion of the opera’s ﬁrst performance and its signiﬁcance. 837. Tovey, Donald. “The Perfect Fool, or the Perfect Opera.” Nation and the Athenaeum 33, no. 8 (May 26, 1923): 282–284. Reprinted in: Musical Times, vol. 64, no. 965 (July 1923): 464–465. A review of the ﬁrst performance of the work, which Tovey pronounces “delightful.” 838. Turner, Walter J. “The Perfect Fool .” New Statesman 21, no. 527 (May 19, 1923): 170. Reprinted in: Variations on the Theme of Music , pp. 53–58. London: W. Heinemann, 1924. ML 60.T97 In this review of Holst’s opera, Turner describes the work as “a pastiche, but it is not an amusing pastiche” (p. 58). 839. Walsh, Stephen. “Music Last Week.” Listener 77, no. 1990 (May 18, 1967): 665. Reviews The Perfect Fool.

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Scores 840. “The Perfect Fool: Opera in One Act.” University of Rochester Sibley Music Library. http://hdl.handle.net/1802/4024 (accessed June 1, 2010). Pdf ﬁle of the vocal score with piano arrangement by published by Novello in 1923.

Vally Lasker,

Planets,The (H125) Monographsand chapters 841. “The Planets.” Wikipedia. http://en.wikipedia.org/wiki/The_Planets (accessed June 5, 2010). This article includes information on the work’ s background, premieres, recordings, analysis, and adaptations of the work by others. This last segment includes not only “classical” arrangements, but rock and metal band arrangements as well. Includes links to scores and recordings. 842. Dubal,David. The Essential Canon of Classical Music. New York: North Point Press, 2001. xiv, 770 p. ISBN 086547608X. MT 90.D83 2001. The author, a former classical music radio station program director , attempts to deﬁne an essential canon for both new and experienced music listeners. Holst is included with a “lesser tier” of composers; Dubal categorizes Holst as ﬁtting “more comfortably into the English choral tradition” (p. 644). Despite this categorization, the only work discussed isThe Planets (with a list of suggested recordings). 843. Greene, Richard. Holst, The Planets . Cambridge Music Handbooks. Cambridge: Cambridge University Press, 1995. ix, 99 p. ISBN 0521450004. ML 410.H748 1995. Examines the genesis, working method, character plots, overall design, and reception of Holst’s most well-known work. The book begins with a discussion of Holst and London and touches on Holst’s reputation around the war years. Appendices include a list of Holst’ s public performances (1908–1921) and a comparison of tempos in selected recordings of The Planets. 844. Lee, Douglas A. “Gustav Holst.” In Masterworks of 20th-Century Music: The Modern Repertory of the Symphony Or chestra, pp. 195–201. New York: Routledge, 2002. ISBN 0415938465. MT 125.L33 2002 The “masterworks” in this book were selected on the basis of frequency of performance rather than an theoretical list of great works. There is a discussion of The Planets and its critical response, plus a list of Holst’ s American engagements.

Bibliography

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845. Newmarch, Rosa. “The Planets.” In The Concert-Goer’s Library of Descriptive Notes, vol. 5, pp. 50–54. London: Oxford University Press, 1928. MT 125. N47. Program notes originally written for a Queen’s Hall Orchestra concert. 846. O’Connell, Charles. “Gustav Holst (1874–1934).” In The Victor Book of the Symphony. Rev. ed., pp. 287–288. New York: Simon and Schuster , 1941. MT 150.O25 V52. A descriptive analysis of each movement of The Planets. A brief section of biographical details preceding the analysis notes that Holst’ s music is heard “with increasing frequency” in America (p. 287). The analysis is reprinted in the author ’s The Victor Book of Overtures, Tone Poems and Other Orchestral Works (New York: Simon and Schuster, 1950). 847. Rothschild, Thomas. “Politische Musik.” In Musik Zwischen E und U: Ein Prolog und sieben Kongr essbeiträge, edited by Ekkehard Jost, pp. 70–78. Veröffentlichungen des Instituts für Neue Musik und Musiker ziehung Darmstadt. Mainz: Schott, 1984. ISBN 3795717655. ML 3795. M8914 1984. Uses Holst’s The Planets as an example of how meaning in music can be based on association. 848. Shore, Bernard. “The Planets.” In Sixteen Symphonies, pp. 312–340. London: Longmans, Green, 1949. MT 125.S47. Shore offers an in-depth analysis of The Planets. The chapter is accompanied by a photograph of Holst (by Herbert Lambert) and several musical examples. Articles 849. “The Planets.” Clavier’s Piano Explorer (March 2008): 4. Analysis geared to a non-technical audience. 850. “The Planets for Two.” International Piano 7 (September–October 2003): 7. Announces the publication of a new edition of the four -hand piano arrangement of The Planets, originally prepared under the composer ’s supervision by colleagues Vally Lasker and Nora Day; the present edition is edited by John and Fiona York. 851. Blom, Eric. “The Listener ’s Repertoire: Holst— The Planets.” Music Teacher 10, no. 2 (February 1931): 91–92. Analysis of each movement of the suite.

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852. Boult,Adrian. “Interpreting The Planets.” Musical Times 111, no. 1525 (March 1970): 263–264. Remarks occasioned by the publication of a full score of the work. Boult, who conducted the ﬁrst private performance of the work, makes a few additions to the list of corrections that appear in the new score. Boult includes quotations from a letter from Holst regarding the that ﬁrst private performance; Holst left the country immediately after the performance for his YMCA post in Salonica. 853. Burton-Page, Piers. “Building a Library: Holst: The Planets.” BBC Music Magazine 12, no. 4 (December 2003): 60–61. Traces the recording history of The Planets, concentrating on currently available recordings. Holst himself made the ﬁrst acoustic recording in 1923, and an electrical recording in 1926. The reviewer chose as his ﬁrst choice Telarc CD-80466, featuring the Atlanta Symphony Orchestra and Chorus, conducted by Yoel Levi. 854. Capell, Richard. “Gustav Holst. III.” Music & Letters 8, no. 1 (January 1927): 73–82. An extract from an unpublished study of Holst that features an extensive descriptive analysis of The Planets. 855. Capell, Richard. “Introduction to The Planets.” Monthly Musical Record 57, no. 676 (April 1927): 99–101. Descriptive analysis of The Planets; the “Mars” movement is omitted. 856. Clardy, Mary Karen. “Performing Gustav Holst’ s The Planets.” Flute Talk 13, no. 1 (January 1994): 12–15. Gives brief context for the work, describes the use of the ﬂute family in the work, and offers performance tips. Includes musical examples. 857. Demarquez, Suzanne. “Notes Sur l’Ánglaise Contemporaine.” (Paris) (December 15, 1929): 114–119.

Musique

Includes a discussion of The Planets. 858. Ellis, Cynthia. “Let’s Talk Picc: Piccolo in The Planets.” Flute Talk 26, no. 3 (November 2006): 21–24. Describes the ﬂute and piccolo parts in each movement of the suite. Includes musical examples.

Bibliography

177

859. Floros, Constantin. “Musik und Astrologie: Die Planeten von Gustav Holst.” Das Orchester: Zeitschrift für Or chesterkultur und RundfunkChorwesen 47, no. 5 (1999): 2–7. Describes the musical imagery Holst used to illustrate the astrological character of each planet/movement in The Planets suite. Includes the signature musical themes for each movement. 860. Gann, Kyle. “My Favorite War Horse.” Pulse, no. 199 (December 2000): 115. A discussion of The Planets, for which the author declares “nothing represents the early 20th century better than the piece that is most literally out of this world.” Three recordings (from the author ’s collection) are recommended. 861. Head, Raymond. “Holst—Astrology and Modernism in Tempo, no. 187 (December 1993): 15–22.

The Planets.”

Modernism on the continent was inspired in part by theosophy and aroused an interest in Indian philosophy and astrology. This aspect of modernism is discussed in regards to English music, Holst, and The Planets. 862. Headington, Christopher. “The Composer and The Planets: Imogen Holst Talks to Christopher Headington.” Records & Recording (January 1980) Interview. 863. Howes, Frank. “The Planets.” Hallé, no. 8 (January 1948): 7–10. Analysis of the work’s major themes and discussion of its signiﬁcance. 864. Hurd, Peter. “The Heckelphone at 100.” Journal of the American Musical Instrument Society, no. 30 (2004): 98–165. This extensive history of the heckelphone also includes discussion of works utilizing the bass oboe, such as The Planets. 865. Jameson, Michael. “‘Always Look for the Unexpected’: The NettleMarkham Duo in Conversation with Michael Jameson.” Fanfare—the Magazine for Serious Record Collectors 19, no. 5 (May–June 1996): 58–63. A proﬁle of the British piano duo (David Nettle, Richard Markham). Includes brief remarks on their recording of Holst’s two-piano version of The Planets (Saga Classics EC 3346-2) released in 1984. 866. Johnson, Stephen. “Discovering Music: The Anatomy of a Musical Masterpiece—Stephen Johnson on Holst’ s The Planets.” BBC Music Magazine 9, no. 4 (December 2000): 61–62. An examination the movements of The Planets shows that the work was an “outstanding original” and ahead of its time. One recording is

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recommended: the BBC Symphony Orchestra conducted by Davis (Teldec 4509 94541-2).

Andrew

867. Jumeau-Lafond, Jean-David. “Le Chœur sans Paroles ou les Sublime.” Revue De Musicologie 83, no. 2 (1997): 263–279.

Voix du

This study of wordless choruses includes a brief discussion of “Neptune” from The Planets. 868. Kennicott, Philip. “Soundbites: Lend an Ear.” Gramophone 84, no. 1012 (November 2006): 28. Comments on the “twisted tale of science and art”—even though Pluto had been discovered in 1930, Holst did not add another movement to his Planets suite. British composer Colin Matthews later composed the “eighth” movement for the suite, titled Pluto: The Renewer . A dilemma ensues, now that the International Astronomical Union declared Pluto an “un-planet.” Discusses various recordings of The Planets and works coupled on the recordings. 869. Morris, R. O. “The Planets.” Athenaeum, no. 4727 (December 3, 1920): 768–769. A critique of the orchestral suite, with a description of each movement. No musical examples. 870. Mulcahy, Michael. “Michael Mulcahy Performs on OriginalTenor Tuba.” ITEA Journal 35, no. 3 (spring 2008): 14. Chicago Symphony Orchestra trombonist Michael Mulcahy performed on the tenor tuba used during the world premiere of The Planets, as part of the orchestra’s “Beyond the Score” series. 871. Mullenger, Len. “The Planets.” MusicWeb International. http://www. musicweb-international.com/holst.htm (accessed June 5, 2010). Traces the origin of the suite and includes a description of each movement. Includes bibliography. The article is reprinted from ORMS News, The Newsletter of the Olton Recorded Music Society. 872. Pound, Jeremy. “Classical Connections: Holst—The Planets.” BBC Music Magazine 16, no. 7 (March 2008): 46–47. Brief discussion of a recording of The Planets (London Philharmonic Orchestra, conducted by Sir Adrian Boult) followed by suggestions of similar musical works for listening. 873. Sanders, Alan. “Collectors’ Corner: Gustav Holst Records The Planets.” Gramophone 54 (September 1976): 404. A comparison of the acoustic (1923) and electrical (1926) recordings of The Planets, conducted by the composer.

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874. Schweitzer, Vivien. “Holst Foundation Sues Film Composer for Copyright Infringement.” Playbill Arts. http://www.playbillarts.com/news/ article/4750.html (accessed June 5, 2010). Contains details about a lawsuit ﬁled against composer Hans Zimmer , claiming that part of his score for the ﬁlm Gladiator infringes on the copyright for The Planets (the opening bars from “Mars”). 875. Senghaas, Dieter. “Musikgeschichte: Wie den Frieden intonieren? Eine unübliche Annäherung an eine genuin politische Thematik.” Das Orchester— Zeitschrift Für Or chesterkultur Und Rundfunk-Chorwesen 52, no. 1 (January 2004): 29–34. Chieﬂy discusses the representation of “freedom” in music, as exempliﬁed in works such as The Planets, The Messiah (Georg Friedrich Handel) and Arthur Honegger’s third symphony. 876. Sheldon, A. J. “Gustav Holst’s The Planets.” Musical Opinion 46, no. 546 (March 1923): 551–553. Movement-by-movement analysis, with musical examples. 877. Short, Michael. “The Making of Journal, no. 2 (1980): 22–26.

The Planets.” British Music Society

The writing of the orchestral suite The Planets was the culmination of many factors in Holst’s life: his interests in eastern philosophy and astrology, hearing Arnold Schoenberg’s Five Pieces for Orchestra, his practical experience as an orchestral player , and historical context. Short gives a brief analysis of each movement. 878. Spratley, Philip. “Letters to the Editor .” Musical Opinion 127, no. 1440 (May–June 2004): 4. The writer points out that the inspiration for astronomy, but astrology.

The Planets was not

879. York, John. “Planets: Out of this World.” Piano 9, no. 4 (July–August 2001): 10–13. The author recounts his discovery of the four -hand arrangement of The Planets, tucked away in a cupboard in Holst’ s music room at St. Paul’ s Girls’ School. The arrangement was prepared from Holst’s original twopiano version by his St. Paul’s Girls’ School colleagues Vally Lasker and Nora Day. He provides an analysis of the work with musical examples. The article appears in conjunction with the release of a recording of the work (Black Box Music BBM1041) by the author and his wife, Fiona York, who perform as the piano duo York2, and coincidentally, are both piano faculty at St. Paul’s Girls’ School.

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Reviews 880. “AgelessWork by Holst.” Times (London), no. 56259 (March 2, 1965). Review of a performance of The Planets by the New Philharmonia Orchestra and Chorus conducted by Sir Adrian Boult. 881. “English Music in Vienna: Elgar, Delius, and Holst.” Times (London), no. 44736 (11 November 1927). Review of a concert devoted to English music given by the Vienna Philharmonic Society that included ﬁve movements from The Planets. 882. “Holstand Busoni.” Times (London), no. 42265 (November 24, 1919). Review of a performance of three movements of The Planets conducted by Holst at a Queen’s Hall Symphony Concert. 883. “Holstand Scriabin.” Times (London), no. 46900 (November 1, 1934). Review of the concert “planned as a group of musical essays in transcendentalism.” Holst’s The Planets shared the program with Scriabin’s Prometheus and Strauss’s Also Sprach Zarathustra , performed by the BBC Symphony Orchestra conducted by Adrian Boult. 884. “Holst’s The Planets.” Times (London), no. 42872 (November 8, 1921). Review of a concert by the London Symphony Orchestra, conducted by Albert Coates. 885. “Mr. Holst’s Planets Suite.” Times (London), no. 43432 (August 29, 1923). Review of a performance at a Promenade Concert conducted by Holst. 886. “A Parry Concert: Leeds Choir ’s Fine Singing, Rimsky-Korsakov and Holst.” Times (London), no. 43155 (October 6, 1922). Review of a performance of The Planets. 887. Scholes, Percy A. “Music of the Week: The Planets.” Observer, no. 6757 (November 21, 1920): 10. Review of the ﬁrst public performance. Dissertations and theses 888. Bach, Jay L. “The Use of the Tenor Tuba in The Planets: Suite for Lar ge Orchestra by Holst.” M.M. thesis, EastTexas State University, 1990. vi, 22 p. Contains an analysis of the melodic signiﬁcance of the tenor tuba part in The Planets; includes bibliography.

Bibliography

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889. Buckland, Jennifer A. “Music of the Spheres and Beyond:The Interstellar Orchestra.” M.A. thesis, York University, 2005. x, 217 leaves. Explores the complex historical relationship between music and astronomy. The Planets suite is examined with regard to Holst’s compositional approach to interpreting astronomical phenomena. Includes bibliography. 890. Leelasiri, Kanokrut. “An Analysis of Gustav Holst’s The Planets.” M.A. thesis, California State University, Northridge, 2001. v, 212 leaves. Not available for examination. Scores 891. “The Planets.” IMSLP/Petrucci Music Library . http://imslp.org/wiki/ The_Planets,_Op.32_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains scanned image of the full score and parts (Goodwin & Tabb, 1921; reprinted by Boosey & Hawkes) plus an arrangement of “Mars” for piano solo. 892. “The Planets.” Music Online: Classical Scor es Library. http://shmu. alexanderstreet.com/View/559435 (accessed June 1, 2010). Online edition of the full score published by Boosey & Hawkes, 1979. 893. “The Planets.” The Or chestra Musician’s CD-ROM Library . CD Sheet Music. http://www.orchmusiclibrary.com/products_listing.php?list_type= composerList&id=38 (accessed June 5, 2010). Includes orchestral parts. Video (arranged chronologically) 894. The Planets. (DVD/HD). Houston: Houston Symphony , 2010. Directed by David Copp. High-deﬁnition images of the solar system from NASA accompany the Houston Symphony performance. The second disc in the set consists of a “making of” documentary and interviews with scientists. 895. The Planets. (DVD) West Long Branch, NJ: Kultur , 2008. 53:00. Ron Isted, director. A performance of The Planets by the BBC Symphony Orchestra and Chorus conducted by Andrew Davis is accompanied by astrological and planetary images.

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896. The Planets (DVD). Leipzig: EuroArts, 2007. 2072268. 81:00. Previously issued as VHS, New York: Philips, 1990. 070 226-3. 109:00 and laserdisc (CLV) 070 226-1. Records a performance given by the Philadelphia Orchestra and Mendelssohn Club of Philadelphia, conducted by Eugene Ormandy at the Academy of Music, Philadelphia, June 1977. Other works on the recording include La Mer (Debussy) and Pictures at an Exhibition (Mussorgsky; this work on VHS and laserdisc only). 897. The Planets. (DVD) Princeton, NJ: Opus Arte/BBC Wales, 2004. 59:00. Rhodri Huw, director. A performance of The Planets by the BBC National Orchestra of Wales conducted by David Atherton with visualizations by Rhodri Huw. Colin Matthews’s added movement “Pluto: The Renewer” is also included. 898. The Planets. (VHS) Paris: TFI Radio France/Curiator Spiritus France, 1981. 53:00. Also issued, USA: CEL Arts, 1981. A performance of The Planets by the French National Orchestra conducted by Lorin Maazel. Articles 899. “Music of the Spheres.” CBS. http://www.cbsnews.com/stories/2010/04/ 18/sunday/main6408141.shtml (accessed June 5, 2010). Background information on the Houston Symphony’ s multimedia production of The Planets, also featured on a segment of the television show CBS News Sunday Morning (April 18, 2010). Includes video clip. 900. “The Symphony as a Vessel to Visit Other Worlds.” New York Times, (January 29, 2010). Review of The Planets: An HD Odyssey presented by the Houston Symphony at Carnegie Hall. Individual movements “Jupiter” 901. Nelson, Catherine. “Consumer Classics.” BBC Music Magazine 13, no. 7 (March 2004): 36–39. Discusses the use of classical music as an advertising tool. “Jupiter” from The Planets has been used to advertise Dulux Weathershield products.

Bibliography

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Classical purists may be horriﬁed, but this use of the music exposes it to a wider audience. 902. Wakin, Daniel J. “Musical Planets, and Real Ones.” (January 29, 2010).

New York Times,

Reviews the Houston Symphony performance at Carnegie Hall that featured an HD visualization by David Copp. The visualization features footage from NASA; there is a brief video clip with the article. “Venus” 903. Holst, Gustav. “Romantic Era: From The Planets—‘Venus.’ Piano Today 21, no. 2 (spring 2001): 26–29. Score of a piano arrangement of “Venus” (The Planets). “Mars” and “Venus” 904. Warburton, A. O. “Set Works for O Level, GCE: Holst, “Mars” and “Venus” from The Planets.” Music Teacher 49, no. 11 (November 1970): 13–18. Analysis of the two movements from the orchestral suite. Pluto:The Renewer (Colin Matthews) 905. “Pluto Joins Holst’ s Planets.” BBC News. http://news.bbc.co.uk/2/hi/ entertainment/679827.stm (accessed June 5, 2010). Announces the addition of a new movement to Holst’ s orchestral suite, The Planets: “Pluto, the Renewer” by Colin Matthews. The piece, dedicated to Imogen Holst, was commissioned by the Manchester -based Halle Orchestra and will receive its premiere on May 11, 2000. The page includes a color portrait of Holst and an audio clip featuring Matthews with the BBC’s James Naughtie. 906. Johnson, Stephen. “Manchester: Pluto Renewed.” BBC Music Magazine 9, no. 10 (June 2001): 65. A discussion of the compositional process for Colin Matthew’ s “Pluto, the Renewer,” the “eighth” movement for Holst’ s The Planets. Despite Pluto’s discovery in 1930, Holst left no record of any desire to add another movement to the suite. 907. Witts, Richard. “‘Renewal’ in Recent British Music: Remastering the Past.” Musical Times 142, no. 1876 (autumn 2001): 7–10. Colin Matthews’s Pluto: The Renewer (2000) was commissioned by the Halle Concert Society as the eight movement of Holst’s The Planets suite.

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It was implied that Holst might have added another movement for the planet, discovered after Holst’ s death. Upon closer inspection, though, the suite is based on astrology rather than astronomy . Thus, Holst may have not wanted to add another movement to the work.A similar situation is found with Anthony Payne’s “elaboration” of the sketches for Edward Elgar’s third symphony and Peter Maxwell Davies’s Antarctic Symphony, composed in homage of Ralph Vaughan Williams’s Sinfonia Antartica. This situation begs the lar ger question of why contemporary British composers look to the past rather than the present for inspiration. Ratri(H90A) 908. Holst,Gustav. “Ratri (1907).” Tempo, no. 160 (March 1987): 37. Facsimile of the Holst’s manuscript held by the Holst Foundation; another copy exists in the British Library , although not in Holst’ s hand (Add. ms 57872). There are a few small dif ferences between the copies. The facsimile accompanies the article “Holst and India” by Raymond Head. Sāvitri(H96) Monographsand chapters 909. Bonavia, Feruccio. “Gustav Holst (1874–1934).” InComplete Opera Book, edited by Gustav Kobbé, George Henry Hubert Lascelles, pp. 1114–1115. New York: Putnam, 1954. Rev. ed., xv, 1262 p. MT 95.K52 1954. A discussion of Savitri. 910. Bonavia, Feruccio. “Gustav Holst (1874–1934).” In The New Kobbé’s Complete Opera Book , edited by Gustav Kobbé, and Geor ge Henry Hubert Lascelles, pp. 1400–1401. New York: Putnam, 1976. xvii, 1694 p. ISBN 0399116338. MT 95.K52 1976. Savitri is the only of Holst’s operas to be included; the entry gives a performance history, list of roles, and a synopsis. Bonavia notes that the chorus parts provide “some novel and very beautiful effects” (p. 1401). 911. Davidson, Gladys and L. R. Brightwell.Standard Stories from the Operas. London: T. W. Laurie, 1935–1940. MT95.D2 1935. Reprint, The Barnes Book of the Opera. New York: A. S. Barnes, 1962. Includes plot synopsis for Savitri. Articles 912. “Holst’s Savitri.” Times (London), no. 58607 (October 17, 1972). Corrects a statement about the number of performances to date of this opera.

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913. Braithwaite, Warwick. “Savitri: An Interpretation of Gustav Holst’ s One-Act Music-Drama Produced Recently at Covent Garden.” Opera 1, no. 7 (July 1923): 17–18. Synopsis. 914. Parrott, Ian. “Holst’s Savitri and Bitonality .” Music Review 28, no. 4 (November 1967): 323–28. Discusses bitonality and other compositional techniques used in this opera. 915. Trend, J. B. “Savitri: An Opera from the Sanskrit.” Music & Letters 2, no. 4 (October 1921): 345–350. This study of Holst’s opera references Richard John Samuel Stevens, who wrote one of the earliest English Sanskrit-inspired works.Trend notes the intimate, contemplative nature of the opera, as the “burden of expression lies wholly with the voices” (p. 350). Reviews 916. “A Future for Opera: The New R. C. M. Theatre, Holst’s Savitri.” Times (London), no. 42774 (July 16, 1921). Review of a performance at the Royal College of Music, featuring the cast from the Lyric Theatre production. 917. “Holstand Puccini.” Times (London), no. 47203 (October 24, 1935). Review of a performance ofSavitri on a program with Puccini’s Il Tabarro and Gianni Schicchi. The reviewer notes the sensitive performance and production despite the ill-ﬁt of the work in the large theater. 918. “Opera at the Royal College.” (January 1932): 13.

Monthly Musical Recor d 62, no. 733

Brief review of a performance of Savitri. 919. “Savitri, Holst’s Unconventional Opera.” Times (London), no. 42755 (June 24, 1921). Review of a performance given at the Lyric Theatre, Hammersmith. 920. “Savitri: Mr. Holst’s Opera at Covent Garden.” Times (London), no. 43380 (June 29, 1923). Review; the reviewer feels that the move of the production to the lar ger theater has spoiled it.

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921. Capell,Richard. “Savitri.” Monthly Musical Record 53, no. 623 (August 1923): 236. Review of a Covent Garden production. Dissertations and theses 922. Broughton, Joseph Earl. “The Waning of Victorian Imperialism: Stylistic Dualism in Gustav Holst’s One-Act Opera Savitri (1908–9).” M.M. thesis, University of North Texas, 2005. iv, 62 leaves. Holst’s opera Savitri represents a turning point in Holst’ s compositional style, composed during a signiﬁcant paradigm shift in British history . Holst utilizes a simpler style inﬂuenced by folk song alongside postWagnerian tonality. The dichotomy of these two approaches reﬂect Holst’s aesthetic, social, and philosophical views. Includes musical examples and bibliography. 923. Hopkin,John Arden. “Riders to the Sea, by Ralph Vaughan Williams and Savitri, by Gustav Holst, Produced at the Eastman School of Music of the University of Rochester on May 13, 1977: A Production Chronicle.” D.M.A. diss., The University of Rochester , Eastman School of Music, 1978. 2 vols. (232 leaves) An explanation of the various aspects of the production of these two operas. The ﬁrst volume includes background information about the operas and the relationships between the composers, technical information on the set and costume design, personnel, ﬁnancial management, rehearsal techniques, use of multimedia in the production, and a postproduction analysis. The second volume includes director ’s scores of both operas containing complete mise-en-scène, stage lighting and media cues, and photographs from the production. Includes musical examples and bibliography. 924. Landvatter, Scott Alan. “Gustav Holst’ s Savitri Elucidated by Hindu Thought.” M.M. thesis, University of Utah, 1984. v, 200 leaves. A detailed analysis of how the composer’s theme of unity is portrayed in the music and libretto of the opera. Scherzo(H192) 925. “Dr. Boult’s Return.” Times (London), no. 46982 (February 7, 1935). Review of the BBC concert conducted by Adrian Boult that included the posthumous Scherzo for orchestra.

Bibliography

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926. “Holst’s Last Work.” Times (London), no. 46979 (February 4, 1935). Announcement of a BBC concert to be conducted by Adrian Boult that will include the Scherzo for orchestra. 927. Vaughan Williams, Ralph. “Letters to the Editor .” Times (London), no. 46985 (February 11, 1935). Vaughan Williams writes to correct several misstatements regarding Holst’s Scherzo. Second Suite in F (H106) Monographsand chapters 928. Garofalo, Robert. “Second Suite in F by Gustav Holst.” In Guides to Band Masterworks, pp. 59–80. Ft. Lauderdale, FL: Meredith Music Publications, 1992. ISBN 1574630229. MT 125.B25 1990. An instructional unit for teaching this piece to secondary school band. Articles 929. Fennell, Frederick. “Gustav Holst’s Second Suite in F for Military Band.” Instrumentalist 32, no. 4 (November 1977): 42–52. Analysis and performance suggestions for this work. Includes musical examples, list of corrections for the “currently available” published score and parts (p. 51) and a photograph of the author with Imogen Holst at her home in Aldeburgh. The picture also shows a music rack used by Gustav Holst. 930. Garofalo, Robert. “Standard Works for Band: Gustav Holst’ s Second Suite in F .” Music Educators Journal 72, no. 4 (December 1985): 30–45. Analysis and rehearsal strategies for teaching this suite. Includes musical examples, diagrams, discography, and brief bibliography. 931. Mitchell, Jon C. “Gustav Holst’ s ‘Three Folk Tunes’: A Source for the Second Suite in F.” Journal of Band Research 19, no. 1 (fall 1983): 1–4. An untitled march movement provided Holst with the opening tune for Suite No. 2 . The movement was found among the possessions of Cecil Sharp and was donated to the Royal Academy of Music Library in 1959.

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Scores 932. “Second Suite in F .” IMSLP/Petrucci Music Library. http://imslp.org/wiki/ Second_Suite_for_Military_Band,_Op.28_No.2_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains a scanned image of the manuscript and the full score (Boosey , 1922). 933. “Second Suite in F .” Naxos Sheet Music Library . http://www.freehand music.com/biblionet/ProductDetail.aspx?ProdID=311163 (accessed June 1, 2010). Full score and parts from the 1909 edition; includes audio clip. SevenChoruses from Alcestis (H146) 934. Smith, Madeleine. “A New Look at Holst.” Musical Times 104, no. 1442 (April 1963): 262–262. Recollections of a performance of Alcestis given by the Morley College Dramatic Society, which took place in the Jackson’ s garden. The performance included Holst’s Seven Choruses from Alcestis. SevenPartsongs (H162) 935. A., T. “Some New Part-Songs by Holst.” Musical Times 68, no. 1007 (January 1927): 45–47. Review of Seven Partsongs to texts by Robert Bridges (H162). Includes musical examples. 936. Hyde, Derek E. “Holst’s Seven Partsongs, Op. 44.” Music in Education 38, no. 368 (July–August 1974): 166–167. Descriptive analysis of the songs to texts of Robert Bridges. 937. Bartle, Ashworth. “Orchestral Repertoire for Journal 41, no. 3 (October 2000): 33–41.

Treble Voices.” Choral

A recommended repertoire list appropriate for younger singers; includes Holst’s Seven Partsongs. The list is not annotated. Score 938. Holst, Gustav. “Extra Supplement: ‘Love on My Heart from Heaven Fell.’” The Musical Times 74, no. 1079 (January 1933): 1–4. Score for the song from the Robert Bridges part-songs.

Bibliography

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Short Festival Te Deum (H145) 939. “Short Festival T e Deum.” IMSLP/Petrucci Music Library . http://imslp. org/wiki/Short_Festival_Te_Deum_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains a version edited by Douglas Walczak for SATB and piano. Sita(H89) 940. Olivero Ferrero, Gabriela and Daniela Rossella. Sita, un’opera inedita di Gustav Holst: passioni dall’India all’Occidente . Parma: L’Oca dell Cairo, 2007. 215 p. ISBN 9788889750100. ML 410.H748 O55 2007. An examination of Holst’ s “Sanskrit period” and opera, Sita. Includes libretto with Italian translation. Six Choral Folk Songs (H136) “I Love My Love” 941. Demorest, Steven M. “Structuring a Musical Choral Rehearsal.” Music Educators Journal 82, no. 4 (January 1996): 25–30. Outlines a rehearsal strategy for teaching the folk-song arrangement “I Love My Love.” 942. Wolverton, Vance D. “Conveying Music’ s Emotional Qualities.” Music Educators Journal 75, no. 5 (January 1989): 31–34. A guide to interpreting affective content in choral music. Includes a study guide for Holst’s I Love My Love. SixSongs (H69) 943. Smith, David Kenneth. “An Interpretive Analysis of Three Early Songs of Ivor Gurney (1890–1937): ‘Song of Ciabhan,’ ‘Tears,’ and ‘Severn Meadows.’” D.M.A., Indiana University, 1999. ix, 103 leaves. The discussion of Ivor Gurney’s song “Tears” (1914) includes a comparison with Holst’s “Weep you no more” from his Six Songs for Soprano , published in 1907 by Stainer and Bell. Includes musical examples, bibliography, and discography.

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St.Paul’s Suite (H118) 944. Newmarch, Rosa. “St. Paul’s Suite for Strings .” In The Concert-Goer’s Library of Descriptive Notes, vol. 5, pp. 48–50. London: Oxford University Press, 1928. MT 125. N47. Program notes originally written for a Queen’s Hall Orchestra concert. Articles 945. “Discovering Music: Listening Notes [for] St. Paul’s Suite.” BBC Radio 3. http://www.bbc.co.uk/radio3/discoveringmusic/listeningnotes/ln_holst_ stpaulssuite.shtml (accessed June 5, 2010). Analysis. Accompanied by photographs of the St. Paul’ s Girls’ School (the work was written for the school orchestra) and Holst at work in his music room. 946. Boult, Adrian C. “St. Paul’s Suite (Gustav Holst).” Musical News & Herald 69, no. 1754 (November 7, 1925): 416–428. Offers performance tips for each movement. 947. Rawlinson, Harold. “Some Famous Works for String Orchestra, no. 3: St. Paul’s Suite Op. 29 no. 2.” Strad 57, no. 674 (June 1946): 41–42. A descriptive analysis of the work, written for the orchestra at the St. Paul’s Girls’ School. Holst served as musical director at the school from 1905 until his death. Reviews 948. “Mr. Holst’s St. Paul’s Suite.” Times (London), no. 43175 (October 30, 1922). Review of a performance at a Queen’s Hall Symphony Concert conducted by Holst. Dissertations and theses 949. Ramsey, Kristi L. “A Comprehensive Approach for Teaching Musicianship via the Orchestra Rehearsal.” M.A. thesis, University of Wyoming, 1987. vii, 85 leaves. Identiﬁes musical concepts to be taught in a high school string orchestra class through an analysis of three works, including Holst’ s St. Paul’s Suite. Includes a discussion of rehearsal techniques, musical examples, and bibliography.

Bibliography

191

“Fantasia on the Dargason” 950. Johnson, Paul. “W illiam Morris and Gustav Holst’ s ‘Fantasia on the Dargason.’” Journal of the William Morris Society 14, no. 2 (spring 2001): 54–58. Attempts to show that William Morris’s artistic philosophy provided the model for the simplicity and unity of the movement. When the circumstantial evidence is examined, the author concludes that in this work Holst is really appealing for unity between the English and Irish people. The ability to work together by those far apart is aptly illustrated by the tuba-piccolo duet in the closing bars of the piece. Scores 951. “St. Paul’s Suite.” IMSLP/Petrucci Music Library. http://imslp.org/wiki/ St._Paul%27s_Suite,_Op.29_No.2_%28Holst,_Gustav%29 (accessed June 5, 2010). Contains a scanned image of the full score and parts (Goodwin & Tabb, 1922). Terzetto (H158) 952. “Terzetto.” IMSLP/Petrucci Music Library.http://imslp.org/wiki/Terzetto_ %28Holst,_Gustav%29 (accessed June 5, 2010). Contains a scanned image of the full score and parts. Three Hymns for the English Hymnal (H73) “Cranham” 953. “ ‘In the Bleak Midwinter.’ ” Folk Harp Journal no. 136–137 (fall–winter 2007): 64–65. Arrangement of In the Bleak Midwinter (“Cranham”) for harp by Anna Jenkins. 954. Beall, Mary Kay . “Hymn Interpretation: ‘In the Bleak Midwinter .’” The Hymn: A Journal of Congregational Song 56, no. 4 (autumn 2005): 47–49. Analysis of the text and tune of Holst’s setting of In the Bleak Midwinter (“Cranham”). Includes text of the poem by Christina Rossetti (1872).Also includes a partial list of contemporary hymnals that contain this hymn.

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955. France, John. “Gustav Holst’ s In the Bleak Midwinter .” MusicWeb International. http://www.musicweb-international.com/classrev/2009/Dec09/ holst_bleak_JF.htm (accessed June 5, 2010). An analysis of the music and text of the popular carol. 956. Waters, Richard. “The Carols of Harold Darke: More Than ‘In the Bleak Mid-winter.’” Choral Journal 48, no. 4 (October 2007): 18–29. A proﬁle of British composer and or ganist Harold Darke (1888–1976), whose best-known carol “In the Bleak Mid-winter” is compared to Holst’s setting of the Christina Rossetti poem. “Thaxted” 957. Wyatt, Larry. “Literature Forum: Music for Solo Instrument and Choral Ensemble.” Choral Journal 40, no. 7 (February 2000): 29. This list of 250 recommended works for solo instrument and choir includes an arrangement of “Jerusalem” (“Thaxted”) by Paul Nicholson for trumpet, organ, and mixed chorus (Augsburg 11-10501). Twelve Songs (H174) 958. “Gustav Holst’s New Songs.” Monthly Musical Recor d 60, no. 71 1 (March 1930): 68. Review of the ﬁrst English performance of the Twelve Songs to texts by Humbert Wolfe. 959. “Recitals of the Week: Songs by Gustav Holst.” Times (London), no. 45431 (February 7, 1930). Review of the ﬁrst performance of the Humbert Wolfe songs. Two Chants (H180) 960. “Theatre Collection: The Passing of the Essenes by George Moore.” Birmingham University Information Services Special Collections. http://calmview. bham.ac.uk/record.aspx?src=DServe.Catalog (accessed June 5, 2010). The collection contains press cuttings and other memorabilia from Geor ge Moore’s play, The Passing of the Essenes (1930). Holst contributed incidental music (Two Chants) for the production.

Bibliography

193

Two Psalms (H117) “Psalm 148” 961. Holst, Gustav. “Psalm 148.” Journal of Church Music 16, no. 6 (June 1974): 23–28. The score of Psalm 148 is reproduced in miniature (with permission; Galaxy Music, plate no. 15353, SATB, organ). Dissertations and theses 962. Mueller, John William. “A Conductor’s Analysis of Selected Works: By William Byrd, Antonio Lotti, Geor ge Frideric Handel, Samuel Barber , Gustav Holst, and Daniel Pinkham.” M.M. thesis, Southwestern Baptist Theological Seminary, 1992. xi, 198 leaves. Provides an analysis and performance considerations for the choral work Psalm 148. Includes biographical sketch and musical examples. Two Songs without Words (H88) “Country Song” 963. Greene, Richard M. “‘Country Song’: An Example of Gustav Holst’ s Rhetorical Method.” Music Review 50, no. 3–4 (August 1989): 240–264. Analysis of “Country Song” from Two Songs without Words (1906). This piece exhibits the strong link between technical and aesthetic aspects more easily seen in later works like The Planets and Egdon Heath. Vision of Dame Christian, The (H101) 964. “Holst’s Masque: Performances at St. Paul’s Girls’ School.” Times (London), no. 47024 (March 28, 1935). Review of a performance of The Vision of Dame Christian. 965. Coop, Nora, F. L. Partridge, and Irene Swann. “Gustav Holst 1974: The Masque Record.” Paulina, no. 153 (1973–74): 14–16. Covers the recording of The Vision of Dame Christian, made at St. Paul’s Girls’ School in 1974. 966. Wimbush, Roger. “Holst.” Gramophone 52, no. 616 (September 1974): 482. Describes the private recording of The Vision of Dame Christian, a work written for the St. Paul’s Girls’ School.

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Wandering Scholar, The (H176) 967. “HolstOpera Score Recovered.” Times (London), no. 55784 (August 20, 1963). The score to The Wandering Scholar, thought to be lost in the mail, was found safe and sound 968. “Holst Score Lost in Post.” Times (London), no. 55783 (August 19, 1963). The score of Holst’s opera The Wandering Scholar has gone missing in the mail, and the loss may affect a scheduled performance of the work at the Festival of Music and Opera, Kensington. 969. “Holst’s Last Opera.” Times (London), no. 55795 (September 2, 1963). Review of a performance of The Wandering Scholar; the performance had been in danger of being delayed due to the score being thought lost in the mail. 970. Rubbra, Edmund. “Holst’s Last Opera.” Listener 40, no. 1040 (December 30, 1948): 1025. Examines the compositional techniques and libretto of The Wandering Scholar. Dissertations and theses 971. Swanson, Christopher. “The Voice of the New Renaissance:The Premiere Performances of Peter Pears.” D.M. diss., The Florida State University, 2004. This survey of tenor Sir Peter Pears’ s premiere performances focuses on the early part of his career (1932–1954). One of the premieres sung by Pears in 1949 was an arrangement by Benjamin Britten and Imogen Holst of Gustav Holst’s chamber opera The Wandering Scholar. Includes chronological list of premieres, and an alphabetical list (for those without date). Wind Quintet in A Minor (H11) 972. “Holst’s Unpublished Music: Discarded and Revised Compositions.” Times (London), no. 52490 (December 9, 1952). Describes an early wind quintet (1903), one of the highlights of the collection of Holst’s manuscripts in the British Library.

Bibliography

195

Dissertations and Theses 973. Rathke, Donna Rager. “Chamber Music for Piano-W ind Quintet (Oboe, Clarinet, Horn, Bassoon, Piano): A Survey.” D.M.A. diss., University of Kentucky, 2003. v, 205 leaves. Holst’s wind quintet in a minor is one of forty-one compositions examined in this study of piano-wind quintets. Includes a discussion of the inherent difﬁculties of writing for this instrumentation, how each composer solves these problems, and an overview of precursors to the piano-wind quintet and technological advances af fecting the instruments. Includes brief discography. Wind Quintet (H67) 974. “Holst Manuscript Discovered: Unpublished (London), no. 52485 (December 3, 1963).

Wind Quintet.” Times

The manuscript for the Wind Quintet was found by a London ﬂutist in a collection of recently purchased music. 975. Head, Raymond. “Holst’ s Wind Quintet Restored.” Double Reed 29, no. 2 (2006): 107–108. The author had delved into the background of this work after coaching a local wind quintet. Several cuts had been made to the ﬁrst and second movements of the work, and it has been published now in its original form. 976. Head, Raymond. “Das “Restaurierte” Bläserquintett von Gustav Holst.” ‘Rohrblatt: Die Zeitschrift für Oboe, Klarinette, Fagott und Saxophon 21, no. 4 (2006): 197–198. German translation of an article previously published in The Double Reed. RELATED WORKS 977. Aurora Borealis the Magniﬁcent Lights of the Northern Sky. (DVD) Kópavogur, Iceland: Aurora Experience, 2005. 72:00. 5690310038128. Footage of the northern lights are interspersed with scientiﬁc and legendary anecdotes and set to the music of The Planets. 978. Voyage to the Outer Planets and Beyond. (DVD). [United States]: Allied Artists Entertainment Group, 2002. 10163. 81:00. Isaac Asimov, host; Don Barrett, director. Previously issued in VHS format [United States]: Today Home Video, 1987. 1006, and laserdisc (CLV), New York: BMG Video, 1993. ID7244TY.

196

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Uses computer animation and unmanned space probe footage to simulate a voyage through space, all set to the music of The Planets in the electronic adaptation by Isao Tomita. 979. The Planets. (DVD) Oley , PA: Bullfrog Films, 1995. 1560296208. Barbara Willis Sweete, director. Also issued in VHS format, New York: PolyGram, 1995. 800 634157-3. A performance featuring set to the music of The Planets, performed by the Montreal Symphony Orchestra conducted by Charles Dutoit. The order of the movements has been rearranged for this production. The production incorporates solo, ensemble, and precision group skating, conventional dance, and synchronized swimming. Performers include Paul and Isabelle Duchesnay, Brian Orser (Mercury), Sonia Rodriguez (Venus), Learie McNicholls (Mars), Charles Kirby (Jupiter), Owen Montague (Saturn), Michael Trent (Uranus), Graham McKelvie (Neptune). Dancers include Sonia Rodriguez, Owen Montague and members of the Toronto Dance Theatre, with choreography by Lar Lubovitch. 980. The Planets: A Personal View. (Laserdisc [CLV]) New York: RCA Victor Red Seal, 1992. 50:00. 09026-61183-6. Ken Russell, director. Also issued as laserdisc (CX) New York: Classic Visions 6, 1992. 09026-62283-6. The ﬁlm features a collage of moving pictures, archival and newly ﬁlmed footage set to the music of The Planets. Based on the program Ken Russell’s View of the Planets that aired June 12, 1983 on L WT’s South Bank Show. The ﬁlm was commissioned by Melvyn Bragg, and the music was performed by the Philadelphia Orchestra conducted by Eugene Ormandy. Articles 981. “Gustav Holst.” Internet Movie Database. http://www.imdb.com/name/ nm0392304/ (accessed June 5, 2010). List of ﬁlms and television shows that use Holst’s music; also includes a listing for the music Holst composed for the ﬁlm The Bells. 982. “Ken Russell on Television.” British Film Institute. http://www.screenonline. org.uk/tv/id/1030140/index.html (accessed June 5, 2010). Proﬁle of director Ken Russell and his “small-screen” ﬁlms, including his ﬁlm of The Planets for The South Bank Show. 983. “The South Bank Show : Ken Russell’s View of the Planets .” British Film Institute. http://ftvdb.bﬁ.org.uk/sift/title/354494 (accessed June 5, 2010). Provides brief information about this program, including credits and synopses.

Bibliography

197

984. Tyranny, “Blue” G. “Gustav Holst.” Allmovie.com . http://allmovie.com/ artist/gustav-holst-330675 (accessed June 5, 2010). The biographical essay includes a summary of ﬁlms and television productions utilizing the music of Holst, primarily from The Planets. Dance 985. Wilson, George Buckley Laird. “ Planets, The.” In A Dictionary of Ballet, 3rd ed., p. 393. London: A. & C. Black, 1974. ISBN 0713613955. GV1585.W5 1974. Includes brief data of two ballets based onThe Planets: the ballet choreographed by Christian Harald Kreutzberg in 1931 (the ﬁrst ballet based on the music) and the Antony Tudor ballet. TheCreation (Geoffrey Holder) 986. Carmen de Lavallade. (VHS) 1973. 50:00. Video of a work originally broadcast as part of PBS television’s “Evening at Pops,” August 5–7, 1973. The Creation, with choreography by Geoffrey Holder was set to “Venus” from The Planets and featured dancer Carmen de Lavallade. DiePlaneten (Harald Kreutzberg) 987. Müller, Hedwig. “Kreutzber g, Harald. “In International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. , edited by Selma Jeanne Cohen, vol. 4, pp. 60–61. New York: Oxford University Press, 1998. ISBN 019509462X. GV1585.I586 1998. Includes a brief description of his ballet, Die Planeten (1931). 988. Wilckens, Friedrich. “Planeten: Eine choreographische Fantasie nach der gleichnamigen Symphonie von Gustav Holst.” Blatter Der Staatsoper (Berlin) (May 1931): 4. Describes a ballet set to the music of The Planets. ThePlanets (Antony Tudor) 989. Chazin-Bennahum, Judith. The Ballets of Anthony Tudor: Studies in Psyche and Satir e. New York: Oxford University Press, 1994. 31 1 p. ISBN 0195071867. GV 1785.T83 C53 1994. The Planets are chieﬂy discussed on pp. 44–48, and includes a detailed description of the genesis of the ballet. There is a photograph from the 1934 performance.

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990. Chujoy, Anatole and P. W. Manchester. “Planets, The.” In The Dance Encyclopedia, rev. and enl. ed., p. 735. New York: Simon and Schuster, 1967. ISBN 0671225863. GV 1585.C5 1967. Provides basic information on the Antony Tudor ballet set to music from The Planets, one of his ﬁrst major choreographic works. 991. Percival, John. “Antony Tudor: Part I, the Years in England.” Dance Perspectives, no. 17 (1963): 1–35. This comprehensive survey of Tudor’s career includes a brief description of his ballet, The Planets. 992. Vaughan, David. “T udor, Antony.” In International Encyclopedia of Dance: A Project of Dance Perspectives Foundation, Inc. , edited by Selma Jeanne Cohen, vol. 6, pp. 195–203. New York: Oxford University Press, 1998. ISBN 019509462X. GV1585.I586 1998. Includes a brief description of the ballet The Planets. The Planets (Christopher D’Amboise) 993. The Planets. (VHS) New York: New York Public Library Research Collection, 1992. 55:00. Video of a performance of the ballet choreographed by Christopher D’Amboise and performed by the Pennsylvania Ballet to music of The Planets. The Planets (David Bintley) 994. “The Planets.” Royal Opera House Collections Online. http://www. rohcollections.org.uk/work.aspx?work=622&row=28&letter=P& (accessed June 1, 2010). Provides production data for the one-act ballet, premieredAugust 1, 1990 by The Royal Ballet. ThePlanets (Erich Walter) 995. Chujoy, Anatole and P. W. Manchester. “Planets, The.” In The Dance Encyclopedia, rev. and enl. ed., p. 735. New York: Simon and Schuster, 1967. ISBN 0671225863. GV 1585.C5 1967. Provides basic information on the ballet choreographed by Erich Walter to music from The Planets.

Bibliography

199

Drama 996. Wade, Martyn. The Bringer of Peace. 2007. (Radio play). BOOK REVIEWS Reviews of multiple books 997. “Gustav Holst: A Biography; The Music of Gustav Holst.” Tempo, no. 91 (March 1991): 43–44. Review of the two books by Imogen Holst. 998. Bartlett,Clifford. “Reviews.” Brio 11, no. 2 (autumn 1974): 39–41. A comparative review of Imogen Holst’ s A Thematic Catalogue of Gustav Holst’s Music and Michael Short’s Gustav Holst (1874–1934): A Centenary Documentation. 999. Dickinson, A. E. F. “Book Reviews.” Tempo, no. 91 (January 1969): 43–44. Review of Gustav Holst: A Biography and The music of Gustav Holst. 1000. Ottaway, Hugh. “Holst Documented.” (December 1974): 1047–1048.

Musical Times 115, no. 1582

Review of three books: Gustav Holst: Letters to W . G. Whittaker and Gustav Holst: A Centenary Documentation (Michael Short) and A Thematic Catalogue of Gustav Holst’s Music (Imogen Holst). 1001. Warrack, John. “Catching Up with Holst.” Times Literary Supplement (December 27, 1974): 1465. Review of a trio of Holst books: A Thematic Catalogue of Gustav Holst’s Music and Holst by Imogen Holst, and Letters to W. G. Whittaker, edited by Michael Short. 1002.

W estrup, J. A. “Reviews of Books.” Music & Letters 56, no. 1 (January 1975): 88. Review of Imogen Holst’s A Thematic Catalogue of Gustav Holst’s Music and Letters to W. G. Whittaker, edited by Michael Short.

Reviews of individual books Block, Tomas. Singing in the Sunlight: A Study in Selected EarlyWorks by Gustav Holst.

200

1003.

Gustav Holst: a research and information guide

Jonsson,Leif. “Recensioner.” Svensk Tidskrift För Musikforskning 83 (2001): 84–86. Dickinson, A. E. F. Holst’s Music: A Guide.

1004. Edwards, Paul. “Book and Music Reviews.” Brio 34, no. 2 (autumnwinter 1997): 106–107. Gr eene, Richard. Gustav Holst and a Rhetoric of Musical Character: Language and Method in Selected Orchestral Works. 1005.

“Music.”Reference & Research Book News 10 (March 1995): 39. Greene, Richard. Holst: The Planets.

1006.

Frogley , Alain. “Reviews.” Musical Times 136, no. 1829 (July 1995), pp. 360–361. Review; Richard Greene provides his response to the review in the December issue (“Rhetorical Questions,” pp. 636–637), followed by Frogley’s subsequent response. Holst, Gustav. Collected Facsimile Edition.

1007. Banﬁeld, Stephen. “Reviews of Music.” Music & Letters 67, no. 2 (April 1986): 225–226. Review of the Collected Facsimile Edition, volume 4: First Choral Symphony, edited by Imogen Holst and Colin Matthews (Faber, 1983). 1008.

Bartlett, Clifford. “Reviews.” Brio 12, no. 2 (autumn 1975): 47. Review of the Collected Facsimile Edition, volume 1: Chamber Operas.

1009.

W arrack, John. “The Composer’s Hand.” Times Literary Supplement (December 23, 1977): 1514. Review of the second volume of the Collected Facsimile Edition. Holst, Imogen. A Thematic Catalogue of Gustav Holst’s Music.

1010.

“Reviews.” British Book News (August 1980): 456–457.

1011.

A“ Thematic Catalogue of Gustav Holst’s Music.” Making Music, no. 86 (autumn 1974): 21.

1012.

Parrott,Ian. “Book Reviews.” Music Review 36, no. 2 (1975): 147–148.

1013.

Holst,Imogen. “A Thematic Catalogue of Gustav Holst’s Music.” Music in Education 38, no. 369 (1974): 227. Holst, Imogen. Holst (Faber).

Bibliography

1014.

201

“Reviews.” Books and Bookmen 19 (July 1974): 85. Holst, Imogen. Gustav Holst: A Biography.

1015.

“Gustav Holst: A Great Composer.” Times (London), no. 48120 (October 8, 1938).

1016.

Music: “ Gustav Holst.” Times Literary Supplement (October 15, 1938): 663.

1017.

Hull,Robin. “The Musician’s Bookshelf.” Musical Times 100, no. 1392 (February 1959): 85–86. Holst, Imogen. The Music of Gustav Holst.

1018.

“GustavHolst.” Choice 7 (April 1970): 238.

1019.

“Music:The Music of Gustav Holst.” Choice 6 (July 1969): 656.

1020.

Anderson,W. R. “The Musician’s Bookshelf.” Musical Times 92, no. 1298 (April 1951): 166–167.

1021.

H.,J. “New Books.” Monthly Musical Record 81, no. 927 (June 1951): 131–132.

1022.

Hollander , Hans. “The Music of Gustav Holst.” Neue Zeitschrift für Musik 130, no. 11 (1969): 536–537. Review (in German).

1023.

Kennedy , Michael. “Clarity in Adversity.” Times Literary Supplement (October 9, 1969): 1162.

1024.

Mellers, Wilfrid H. “English Musical Speech.” Times Literary Supplement (February 16, 1951): 96.

1025.

W arrack, John. “Book Reviews.” Musical Times 110, no. 1521 (November 1969): 1143. Holst, Imogen. The Music of Gustav Holst; and Holst’ Reconsidered.

1026. 1027.

s Music

“Reviews.” Composer, no. 88 (summer 1986): 23–24. Cahn,Peter. “The Music of Gustav Holst .” Neue Zeitschrift für Musik 148, no. 4 (1987): 59. Review (in German).

1028.

Frogley , Alain. “Reviews of Books.” Music & Letters 69, no. 1 (January 1988): 110–111. Mitchell, Jon C. A Comprehensive Biography of Composer Gustav Holst with Correspondence and Diary Excerpts; Including His American Years.

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1029.

“Music.”Reference & Research Book News 16 (November 2001): 194.

1030.

Head,Raymond. “Book Reviews.” Tempo no. 57 (January 2003): 66. Mitchell, Jon C. From Kneller Hall to Hammersmith: The BandWorks of Gustav Holst.

1031.

Short,Michael. “Reviews of Books.” Music & Letters 72, no. 2 (May 1991): 311–312.

1032.

W ittmann, Michael. “Besprechungen.” Die Musikforschung 49, no. 1 (January–March 1996): 95–96. Rubbra, Edmund. Collected Essays on Gustav Holst.

1033.

Collected “ Essays on Gustav Holst.” Recorded Sound, no. 62 (1976): 545.

1034.

Ottaway , Hugh. “Recollected Holst.” Musical Times 116, no. 1585 (March 1975): 240. Short, Michael. Gustav Holst: The Man and His Music.

1035. Gustav “ Holst: The Man and His Music.” Instrumentalist 45 (1991): 63. 1036.

Gustav “ Holst: The Man and His Music.” Tempo, no. 176 (March 1991): 57–58.

1037.

Adams,Byron. “Book Reviews.” Musical Quarterly 76, no. 4 (January 1992): 584–591.

1038. Andrews, Paul. “New Books on British Composers.” (autumn–winter 1991): 88–91.

Brio 28, no. 2

1039.

Hold,Trevor. “Towards Silence.” Musical Times 132, no. 1780 (June 1991): 301.

1040.

Hurd,Michael. “Reviews of Books.” Music & Letters 72, no. 2 (May 1991): 310–311.

1041. Lloyd, Stephen. “Gustav Holst: The Man and the Music.” Times Literary Supplement, no. 4602 (June 14, 1991): 22. 1042.

Metcalfe,W. “Short, Michael. Gustav Holst: The Man and His Music .” Choice 28 (April 1991): 1321.

1043.

own, T Stephen. “Book Reviews.” Choral Journal 36, no. 5 (1995): 65–67.

1044.

Schulz,Thomas. “Gustav Holst: The Man and His Music (Review of).” Neue Zeitschrift für Musik 152, no. 7–8 (1991): 93–94.

III Discography

The discography follows the format of that found in the discography compiled by Eric Hughes in Recorded Sound (see no. 675). All formats (compact disc, LP, etc.) are included, but the list is necessarily selective in nature. Recordings have been chosen according to criteria set forth in the Preface. Works are listed alphabetically with the thematic catalog number given in parenthesis. For multi-movement works, the titles of the movements have been listed following the title of the work. Each entry contains a list of performers, label name, and number. Formats other than compact disc are notated by a symbol. Excerpts and arrangements follow the main list of recordings under each work’s title. Example Title, H. number. Titles of individual parts of the work, if applicable. Performer(s); Ensemble Name/Orchestra, Conductor. Label & no. Arrangements Arr. for [new medium] by [Name] Performer(s); Ensemble Name/Orchestra, Conductor. Label & no. List of abbreviations and symbols * LP recording † SACD # DVD-Audio bar baritone voice cl clarinet 203

204

cond ﬂ ob org pn sop ten va vc vn

Gustav Holst: a research and information guide

conductor ﬂute oboe organ piano soprano voice tenor voice viola violoncello violin

D1. Air and Variations (H App. I, 32) Sarah Francis, ob; English String Quartet Chandos CHAN 8392; Chandos ABRD 1114* D2. Arpeggio Study (H App. I, 17) Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382 D3. At the Boar’s Head (H156) Elise Ross, Felicity Palmer , sop; Philip Langridge, Peter Hall, ten; David Wilson-Johnson, Richard Suart, bar; John Tomlinson, Michael George, bass; Royal Liverpool Philharmonic Orchestra; David Atherton, cond. EMI ASD 4387*; WRC WE 5542* English Opera Group; English Chamber Orchestra; Steuart Bedford, cond. EMI Classics 724356512726 Philip Langridge; John Tomlinson; Elise Ross; Felicity Palmer; men’ s voices of the Liverpool Philharmonic Choir; Royal Liverpool Philharmonic Orchestra; David Atherton, conductor. EMI Classics 50999 9 68929 2 3 D4. Autumn Is Old (H1) Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; CHAN 9425 D5. Ave Maria (H49) BBC Singers; Justin Doyle, cond. BBC Music Magazine BBC MM252 Cambridge Singers; John Rutter , cond. Collegium Records COLCD 1 16; CSCD 508 Cecilian Singers; Nan Anderson, cond. TreeHouse T0319 Choir of Trinity College, Cambridge; Richard Marlow 75605-51308-2

, cond. Conifer

Elektra Women’s Choir; Morna Edmundson, Diane Loomer , cond. Skylark Records 9202 CD

Discography

205

Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; Chandos CHAN 9425 Girl Choristers & Lay Clerks of Winchester Cathedral; Sarah Baldock, cond. Grifﬁn GCCD 4049 Holst Singers; Stephen Layton, cond. Helios CDH55171; Hyperion CDA66705 Mädchenchor Hannover; Ludwig Rutt, cond. Carus 83.126 Manitou Singers of St. Olaf College; Sigrid Johnson, cond. St. Olaf Records 610295240021 Paciﬁc Chorale; John Alexander, cond. Bay Cities BDC1040 Purcell Singers; Imogen Holst, cond. Argo ZK 74-75* Saint Mary’s College Women’s Choir; Nancy Menk, cond.Pro Organo CD 7215 Voci Nobili; Maria Gamborg Helbekkmo, cond. ProMusica PPC 9039 Washington National Cathedral Girl Choristers; Bruce Neswick, cond. Organo CD 7128

Pro

Arr. for SATB by Mark Denza: Hampstead Singers; Mark Denza, cond. Guild GMCD 7200 D6. Beni Mora (H107) BBC Symphony Orchestra; Sir Malcolm Sar gent, cond. EMI Records 724358591323; EMI Records CDC 7 49784 2; HMV Greensleeve ESD 2900221* London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222 London Symphony Orchestra; Gustav Holst, cond. Symposium 1202

Dutton CDBP 9777;

London Symphony Orchestra; Gustav Holst, cond. Pearl GEMM CD 9417 Royal Philharmonic Orchestra; Sir Malcolm Sar gent, cond. EMI Records Limited CD-EMX 2141 (CDM 7 69826-2) Royal Scottish National Orchestra; David Lloyd-Jones, cond. Naxos 8.553696 Arr. for 2 pn: Anthony Goldstone, Caroline Clemmow Divine Art 25032 D7. Bring us in Good Ale (H131) Christ Church Cathedral Choir; Simon Lawford, org; Stephen Darlington, cond. Nimbus Records NI 7021; Musical Heritage Society 513135Y Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705

206

Gustav Holst: a research and information guide

D8. Brook Green Suite (H190) Bournemouth Sinfonietta; Norman Del Mar, cond. Angel CDR 724357373326; EMI Classics 7243 5 65130 2 0; EMI CDC 7 47812 2; His Master ’s Voice ASD 3953* City of London Sinfonia; Richard Hickox, cond. Musical Heritage Society 5178409

Chandos CHAN 9270;

English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 English Chamber Orchestra; Steuart Bedford, cond. EMI CDC 7 49784 2; Seraphim S21-17378; HMV Greensleeve ESD 2900221* English Chamber Orchestra; Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5; EMI Eminence 7243 5 65399 2 1 English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 London Festival Orchestra; Ross Pople, cond. 34022 2; Arte Nova Classics ANO 340220

Arte Nova Classics 74321

New Zealand Chamber Orchestra; Nicholas Braithwaite, cond. International Classics 3-7058-2H1

Koch

Oxford Orchestra da Camera; George Vass, cond. Medici Quartet/Whitehall Associates MQCD 4002 Philharmonic Orchestra; Barry Wordsworth, cond. Platinum Entertainment 2882; Tring International PLC TRP037 Royal Ballet Sinfonia; David Lloyd-Jones, cond. Naxos 8.555069 Royal Philharmonic Orchestra; Alan Barlow, cond. Academy Sound and Vision PT1806; Academy Sound and Vision CD QS 6070; Sanctuary Classics CD RSN 3049 Arr. for band by James Curnow: Washington Winds, James Curnow, cond. Curnow Records CR 205-026-3 D9. Capriccio (H185) English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081 Philharmonia à Vent Wind Orchestra; John Boyd, cond. Klavier K 11150 D10. Choral Fantasia, A (H177) Dame Janet Baker, mezzo-sop; Purcell Singers; Ralph Downes, or g; English Chamber Orchestra; Imogen Holst, cond. EMI Records CDC 7 49638 2; EMI Classics 7243 5 65588 2 3; HMV Greensleeve ESD 1783041*

Discography

207

Heather Harper, sop; BBC Chorus and Choral Society; BBC Symphony Orchestra; Sir Malcolm Sargent, cond. Intaglio INCD 7401 Lynne Dawson, sop; John Birch, or g; Guildford Choral Society; Royal Philharmonic Orchestra; Hilary Davan Wetton, cond. Hyperion CDA66660; Helios CDH55104; Musical Heritage Society 5164236 Patricia Rozario, sop; Joyful Company of Singers; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 9437 D11. Choral Hymns from the Rig Veda (1st–4th groups, H97-H100) 1st Group (H97) 1. Battle Hymn 2. To the Unknown God 3. Funeral Hymn 2nd Group (H98) 1. To Varuna 2. To Agni 3. Funeral Chant 3rd Group (H99) 1. Hymn to the Dawn 2. Hymn to the Waters 3. Hymn to Vena 4. Hymn of the Travellers 4th Group (H100) 1. Hymn to Agni 2. Hymn to Soma 3. Hymn to Manas 4. Hymn to Indra Kaleidoskop Mädchenchor Hannover; Ludwig Rutt, Gudrun SchröfelGatzmann, cond. Thorofon Classics CTH 2174 London Symphony Chorus; London Philharmonic Orchestra; Sir Charles Groves, cond. EMI CDC 7 49409 2 Netherlands Chamber Choir; John Alldis, cond. Globe GLO 5170 Purcell Singers; Osian Ellis, harp; Imogen Holst, cond. Decca 470 191-2 Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Osian Ellis, harp; Sir David Willcocks, cond. Unicorn-Kanchana DKP (CD) 9046 1st Group only: Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Sir David Willcocks, cond. Unicorn-Kanchana DKP 9046* 2nd Group only: London Symphony Chorus; London Philharmonic Orchestra; Sir Charles Groves, cond. Angel S 37455*; ASD 3435*; HMV Greensleeve ESD 2900221* Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Sir David Willcocks, cond. Unicorn-Kanchana DKP 9046*

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3rd Group only: Barbara Dechario, harp; Mansﬁeld University Women’s Chorus; Peggy Dettwiler, cond. Mark Custom 4851-MCD Osian Ellis, harp; The Purcell Singers; English Chamber Orchestra; Imogen Holst, cond. London 430 062-2; Argo ZK 98* Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Osian Ellis, harp; Sir David Willcocks, cond. Unicorn-Kanchana DKP 9046* Thelma Owen, harp; The Holst Singers; The Holst Orchestra; Hilary Davan Wetton, cond. Helios CDH55050; Hyperion CDA66175; HyperionA66175* 3rd Group no. 3 only: BBC Singers; Justin Doyle, cond. BBC Music Magazine BBC MM252 4th Group nos. 2, 3 only: Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Sir David Willcocks, cond. Unicorn-Kanchana DKP 9046* 4th Group no. 3 only: Baccholian Singers of London. EMI Classics 50999 2 16155 2 8; Odeon/ EMI CSD.3764*; World Record Club WRC 1730E* London Madrigal Singers; Christopher Bishop, cond. EMI Classics 7243 5 65123 2 0 D12. Chrissemas Day in the Morning (H165) Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382 Fiona York, John York, pn; Black Box Music Ltd BBM1041 D13. Christmas Day (H109) Edinboro University Singers and University Chorale; Peter van den Honert, cond. Mark Custom MCD 2279 Quodlibet Singers; Ralph Morton, cond. Tall Poppies TP046 D14. Cloud Messenger, The (H111) Della Jones, mezzo-sop; London Symphony Chorus; London SymphonyOrchestra; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 8901 D15. Coming of Christ, The (H170) 1. First Song of the Host of Heaven 2. Song of the FourAngels 3. Second Song of the Host of Heaven 4. First Song of the Kings 5. Second Song of the Kings 6.The Antiphonal 7. The Song of the Coming of Christ Nos. 1, 3 only: Aldeburgh Festival Singers; Peter Aston, cond. UEA Recordings UEA 82015*

Discography

209

D16. Cotswolds, The (H47) 1. Allegro con brio 2. Elegy (In Memoriam William Morris) 3. Scherzo 4. Finale Munich Symphony Orchestra; Douglas Bostock, cond. Classico CLASSCD 284; Scandinavian Classics 220559-205 No. 2 only: London Philharmonic Orchestra; David Atherton, cond. Lyrita SRCD.209 No. 2 (arr. for 2 pn, Gustav Holst) Anthony Goldstone, Caroline Clemmow Albany Records TROY 198 D17. Deux Pièces (H50) Anthony Goldstone, Caroline Clemmow Chandos CHAN 9382 D18. Dirge and Hymneal (H124) CBSO Chorus; Simon Halsey , cond. Conifer CDCF 142; Conifer Classics 75605 51752 2; Conifer CFC 142* D19. Dirge for Two Veterans, A (H121) Baccholian Singers of London; Philip Jones Brass Ensemble; Ian Humphris, cond. World Record Club WRC 1730E* Philip Jones Brass Ensemble;Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5 Joyful Company of Singers; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 9437 D20. Diverus and Lazarus (H137) Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D21. Double Concerto (H175) Andrew Watkinson, Nicholas Ward, vn; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 9270; Musical Heritage Society 5178409 Emanuel Hurwitz, Kenneth Sillito, vn; English Chamber Orchestra; Holst, cond. Lyrita SRCD.223

Imogen

Janice Graham, Sara Ewins, vn; English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 D22. Duet for Organ and Trombone (H App. I, 31) Alain Trudel, trombone; Patrick Wedd, org Naxos 8.553716 Civil Servant Duo of 1984 Classico CLASSCD 122 Ian Bousﬁeld, trombone; Simon Wright, org EMI 7243 5 66289 2 2 Sebastian Krause, trombone; Gabriele Wadewitz, org Raumklang RK 9805

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Arr. for trombone and concert band by Stephen Roberts: Christian Lindberg, trombone; Kosei Wind Orchestra; Chikara Imamura, cond. BIS CD-848 D23. Egdon Heath (H172) BBC Symphony Orchestra; Andrew Davis, cond. Apex 685738908721; Teldec 4509-94541-2 London Philharmonic Orchestra, Sir Adrian Boult, cond. Decca 470 191-2; Decca 440 318-2; London/Decca 425 152-2; Decca JB 49* London Symphony Orchestra; André Previn, cond. EMI CDC 7 49784 2; EMI Classics 7243 5 62616 2 4; EMI Classics 7243 5 66934 2 5; Angel Records S-37152*; EMI ASD 3097*; EMI 2YEA 5347-8*; HMV Greensleeve ESD 1783041*; World Record Club EMI 1814E* London Symphony Orchestra, Benjamin Britten, cond. 8007-2

BBC Music BBCB

London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081 Royal Scottish National Orchestra; David Lloyd-Jones, cond. Naxos 8.553696 Winnipeg Symphony Orchestra; Bramwell SMCD 5176

Tovey, cond. CBC Records

D24. Eight Canons (H187) 1. If you Love Songs 2. Lovely Venus 3. The Fields of Sorrow 4. David’s Lament for Jonathan 5. O Strong of Heart 6. Truth of all Truth 7. Evening on the Moselle 8. If ‘Twere the Time of Lilies Purcell Singers; Violet Tunnard, pn; Imogen Holst, cond. Argo ZK 74-75* No. 3, 4, 6: Baccholian Singers of London. EMI Classics 50999 2 16155 2 8; Odeon/EMI CSD.3764*; World Record Club WRC 1730E* London Madrigal Singers; Christopher Bishop, cond. EMI Classics 7243 5 65123 2 0 D25. Evening-Watch, The (H159) CBSO Chorus; Simon Halsey , cond. Conifer CDCF 142; Conifer Classics 75605 51752 2; Conifer CFC 142* Choir of Clare College; Timothy Brown, cond. Collegium Records COLCD 127 Choir of Magdalen College, Oxford; John Harper, cond. Alpha CDCA 914 Christ Church Cathedral Choir; Stephen Darlington, cond. Nimbus Records NI 7021; Musical Heritage Society 513135Y

Discography

211

Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; Chandos CHAN 9425 Holst Singers; Hilary Davan Wetton, cond. Hyperion CDA66329; Helios CDH55170 Purcell Singers; Imogen Holst, cond. Decca 470 191-2; London 430 062-2; Argo ZK 74-75* Queens’ College Chapel Choir , Cambridge; Rupert Jordan, cond. GMCD 7155

Guild

D26. First Choral Symphony (H155) 1. Prelude: Invocation to Pan; Song and Bacchanal 2. Ode on a Grecian Urn 3. Scherzo: Fancy; Folly’s Song 4. Finale Janet Coster, mezzo-sop; John Alldis Choir; London Philharmonic Orchestra; Sir Adrian Boult, cond. Intaglio INCD 7401 Felicity Palmer, sop; London Philharmonic Choir; London Philharmonic Orchestra; Sir Adrian Boult, cond. EMI Classics 50999 9 68929 2 3; 7243 5 65128 2 5; EMI Records CDC 7 49638 2; EMI ED 29 0378 1* Lynne Dawson, sop; Guildford Choral Society; Royal Philharmonic Orchestra; Hilary Davan Wetton, cond. Hyperion CDA66660; Helios CDH55104; Musical Heritage Society 5164236 No. 2 only: Aldeburgh Festival Singers; Peter 82015*

Aston, cond. UEA Recordings UEA

D27. First Suite in E-ﬂat (H105) 1. Chaconne 2. Intermezzo 3. March Central Band of the Royal Air Force; Wing Commander Eric Banks, cond. EMI CDC 7 49608 2;Angel Eminence AE-34477*; EMI His Master’s Voice EL 27 0093 1*; EMI/Angel AE-34477* Cleveland Symphonic Winds; Frederick Fennell, cond. Telarc Digital 2CD-80606; SACD-60639†; Telarc 5038*; Telarc 10038*; Telarc 5023* Dallas Wind Symphony; Howard Dunn, cond. RR-39CD

Reference Recordings

Duke Wind Symphony; Michael Votta Jr., cond. PrimaVera Classics 9640012 Eastman Wind Ensemble; Donald Hunsber ger, cond. Sony Classical SK 47198 Eastman Wind Ensemble; Frederick Fennell, cond. Mercury 289 462 960-2 Keystone Wind Ensemble; Jack Stamp, cond. Citadel Records CTD 88137

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London Wind Orchestra; Denis Wick, cond. Resonance CD RSN3006; Academy of Sound and Vision ACA 1002*; Enigma K53565*; Musical Heritage Society MHS 4433*; Nonesuch N-78002* North Texas Wind Symphony; Eugene Migliaro Corporon, cond. K11122; GIA Publications CD-655

Klavier

Peabody Conservatory Wind Ensemble; Harlan D. Parker, cond. Naxos 8.572242 President’s Own United States Marine Band; Frederick Fennell, cond. Musical Heritage Society 501607Z Regimental Band of the Coldstream Guards; R. Bandleader BNC 3002*

A. Ridings, cond.

Royal Northern College of Music Wind Orchestra; Timothy Reynish, cond. Chandos CHAN 9697 Showa Wind Symphony; Eugene M. Corporon, cond. CACG-0140

Cafua Records

St. Olaf Band; Miles H. Johnson, cond. St. Olaf Records WCD 30134 Staff band of the Norwegian Armed Forces; Eivind Aadland, cond. Simax Classics PSC 1208 Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Kosei KOCD-3503 United States Air Force Band; Colonel Lowell E. Graham, cond.Klavier K 11161 University of Georgia Wind Symphony; H. Dwight Satterwhite, cond. Summit Records DCD 343 University of Michigan Symphony Band; H. Robert Reynolds, cond. Equilibrium EQ 45 University of Northern Colorado Wind Ensemble; Eugene Corporon, cond. Audicom; KM 3718* No. 3 only: London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 246 Arr. for brass quintet and percussion by Andrew Miller: Paramount Brass Centaur CRC 2547 Arr. for clarinet ensemble: University of Florida Clarinet Ensemble; Mitchell Estrin, cond.Mark Masters 6720-MCD No. 1 arr. for org: Rupert Jeffcoat, org Regent REGCD199

Discography

213

Arr. for orch by Gordon Jacob London Philharmonic Orchestra; Nicholas Braithwaite, cond. SRCD.210

Lyrita

No. 1 arr. for orch by Gordon Jacob: London Philharmonic Orchestra; Adrian Boult, cond. Lyrita SRCS.71* D28. Five Partsongs (H61) 1. Dream Tryst 2. Ye Little Birds 3. Her Eyes the Glow-Worm Lend Thee 4. Now is the Month of Maying 5. Come to Me CBSO Chorus; Simon Halsey , cond. Conifer CDCF 142; Conifer Classics 75605 51752 2; Conifer CFC 142* No. 5 only: CBSO Chorus; Richard Markham, pn; Simon Halsey Classics CH1

, cond. Conifer

D29. Folk Song Fragments (H166) 1. O! I Hae Seen the Roses Blaw 2. The Shoemaker Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382 Fiona York, John York, pn; Black Box Music Ltd BBM1041 John McCabe, pn BMS Historic BMS103CDH D30. Four Old English Carols (H82) 1. A Babe is Born, A 2. Now Let Us Sing 3. Jesu, Thou the Virgin-Born 4. The Saviour of the World Choir of New College Oxford; Edward Higginbottom, director; Frances Kelly, harp CRD 3490 Acc. arr. for orchestra by Cary John Franklin: Bel Canto Voices; Plymouth Festival Chorus; Plymouth Festival Orchestra; Philip Brunelle, cond. ProArte Digital PAD-192* No. 3 only: Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 Purcell Singers; Imogen Holst, cond. Argo ZK 74-75* D31. Four Songs (H132) 1. Jesu Sweet, Now Will I Sing 2. My Soul has Nought but Fire and Ice 3. I Sing of a Maiden 4. My Leman is True

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Gustav Holst: a research and information guide

Catherine Malﬁtano, sop; Joseph Malﬁtano, violin VAI Audio VAIA 1202; Musical Heritage Society MHS 1976* Peter Pears, ten; Norbert Brainin, violin Argo ZK 74-75* Susan Gritton, sop; Louisa Fuller 8.557117

, vn; Collins Classics 15322; Naxos

D32. Four Songs (H14) 1. Slumber-Song. 2. Mar grete’s Cradle-Song. 3. Soft and Gently . 4. Awake, My Heart. No. 3 only: Patricia Rozario, sop; Della Jones, mezzo-sop; London Symphony Chorus; London Susan Gritton, sop; Steuart Bedford, pn Collins Classics 15322; Naxos 8.557117; Naxos 8.557559--8.557560 Finzi Singers; Paul Spicer , cond. Chandos CHAN 241-6; Chandos CHAN 9425 D33. Fugal Concerto (H152) Anna Pyne, ﬂ; Philip Harmer, ob; English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 Duke Dobing, ﬂ; Christopher Hooker , ob; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 9270; Musical Heritage Society 5178409 Edward Beckett, ﬂ; Malcolm Messiter, ob; London Festival Orchestra; Ross Pople, cond. Arte Nova Classics 74321 34022 2; Arte Nova Classics ANO 340220; Arte Nova Classics/BMG Conifer 74321 60098 2 English Chamber Orchestra, Imogen Holst, cond. BBC Music BBCB 8007-2 János Bálint, ﬂ; Lajos Lencsés, oboe; Budapest Strings; Károly Botvay , cond. Capriccio 10 584 Jonathan Snowden, ﬂ; David Theodore, ob; English Chamber Orchestra; Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5; EMI Eminence 7243 5 65399 2 1 New Zealand Chamber Orchestra; Nicholas Braithwaite, cond. International Classics 3-7058-2H1

Koch

Ruth Bolister, ob; Kate Hill, ﬂ; Elgar Chamber Orchestra; Stephen Bell, cond. Academy Sound and Vision CD DCA 1173 St. Paul Chamber Orchestra; Christopher Hogwood, cond. Decca 470 191-2; London 440 376-2

Discography

215

William Bennett, ﬂ; Peter Graeme, ob; English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 Arr. by Geoffrey Brand: European Winds; Geoffrey Brand, cond. Albany Records TROY 120 D34. Fugal Overture, A (H151) London Festival Orchestra; Ross Pople, cond. Academy Sound and Vision CD DCA 782 London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222; HNH Records HNH 4038* London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081 Naxos

Royal Scottish National Orchestra; David Lloyd-Jones, cond. 8.553696 D35. Fugue a la Gigue (Bach) (H App. III, 25) BBC Philharmonic; Leonard Slatkin, cond. Chandos CHAN 9835 Cantium Winds; Brendon Le Page, cond. Cardinal CSCD102

North Texas Wind Symphony; Eugene Migliaro Corporon, cond. GIA Publications CD-655; Klavier K 11154 Orchestre symphonique de Québec; ACD2 2570

Yoav Talmi, cond. Atma classique

Royal Northern College of Music Wind Orchestra; Timothy Reynish, cond. Chandos CHAN 9697 Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Kosei KOCD-2815 D36. Golden Goose, The (H163) Guildford Choral Society; Philharmonia Orchestra; Hilary Davan cond. Hyperion CDA66784 Joyful Company of Singers; BBC National Orchestra of Hickox, cond. Chandos CHSA 5069†

Wetton,

Wales; Richard

Ballet Music: English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 D37. Greeting (H54) Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D38. Hammersmith (H178) Eastman Wind Ensemble; Frederick Fennell, cond. Mercury 432 009-2 European Winds; Geoffrey Brand, cond. Albany Records TROY 120

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Keystone Wind Ensemble; Jack Stamp, cond. Citadel Records CTD 88137 Kokujieitai Seibu Koku Ongakutai; Katsuo Mizushina, cond. CCRSP-29C

Crown

London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222; Intaglio INCD 7281 London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081 London Wind Orchestra; Denis Wick, cond. Academy of Sound and Vision ACA 1002*; Enigma K53565*; Musical Heritage Society MHS 4433*; Nonesuch N-78002* North Texas Wind Symphony; Eugene Migliaro Corporon, cond. GIA Publications CD-655; Klavier K 11070 Philharmonia Orchestra; Sir Adrian Boult, cond. BBCRD 9127

BBC Radio Classics

Royal Northern College of Music Wind Orchestra; Timothy Reynish, cond. Chandos CHAN 9697 Royal Scottish National Orchestra; David Lloyd-Jones, cond. Naxos 8.553696 Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Kosei KOCD-3576 Tokyo Kosei Wind Orchestra; Kazuyoshi Akiyama, cond. Kosei KOCD-3073; Kosei KOR-7907* United States Air Force Band; Colonel Lowell E. Graham, cond. Klavier K 11176 University of Georgia Wind Ensemble; John P. Lynch, cond. Naxos 8.572231 University of Illinois Symphonic Band; Harry Begian, cond. 1651

Mark MCD-

D39. Heart Worships, The (H95) Christopher Maltman, bar; Steuart Bedford, pn Collins Classics 15322; Naxos 8.557117; Naxos 8.557559--8.557560 D40. Homecoming, The (H120) Baccholian Singers of London; Ian Humphris, cond. EMI Classics 50999 2 16155 2 8; World Record Club WRC 1730E* London Madrigal Singers; Christopher Bishop, cond. EMI Classics 7243 5 65123 2 0

Discography

217

D41. Hymn of Jesus, The (H140) BBC Chorus; BBC Symphony Orchestra; Adrian Boult, cond. Decca 470 191-2; 421 381-2; 448 170-2; Decca JB 49* London Symphony Chorus; Choristers of St. Paul’ s Cathedral Choir; London Liverpool London Symphony Chorus; London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 8901 London Symphony Chorus; London Philharmonic Orchestra; Sir Charles Groves, cond. EMI Classics 50999 9 68929 2 3 Philharmonic Orchestra; Malcolm Sar gent, cond. Dutton Laboratories CDAX8012 Philharmonic Orchestra; Sir Charles Groves, cond. EMI CDC 7 49409 2; EMI Classics 7243 5 65128 2 5 Angel S 37455*; ASD 3435*; HMV Greensleeve ESD 1783041* D42. Hymn to Dionysus (H116) Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Sir David Willcocks, cond. Unicorn-Kanchana DKP (CD) 9046; UnicornKanchana DKP 9046* D43. Hymns from the Rig Veda (H90) 1st Group 1. Ushas 2. Varuna I 3. Maruts 2nd Group 4. Indra 5. Varuna II 6. Song of the Frogs 3rd Group 7. Vac 8. Creation 9. Faith Christopher Maltman, bar; Steuart Bedford, pn Collins Classics 15322; Naxos 8.557117 No. 1 only: Felicity Lott; Graham Johnson, pn; ASV Gold/Sanctuary Classics GLD 4003 No. 1–3 only: Ellen Frohnmayer, sop; Philip Frohnmayer , bar; Logan Skelton, pn Centaur CRC 2075 No. 1, 2, 4–9 Avon Stuart, bar; Gregor Eichhorn, pn Edition Rhodos ERS 1218* D44. I Vow to Thee, My Country (H148) Charlotte Church, sop; Orchestra of Welsh National Opera; Siân Edwards, cond. Sony Classical SK 60957 Arr. for trumpet and org: James O’Donnell, trumpet; Sean McCarthy, org Elf Recordings ELFCD1001

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Gustav Holst: a research and information guide

D45. In Youth Is Pleasure (H76) Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D46. Incidental Music for the Pageant of St. Martin-in-the-Fields (H App. III, 22) Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D47. Indra (H66) London Philharmonic Orchestra; David Atherton, cond. Lyrita SRCD.209 D48. Invocation (H75) Alexander Baillie, vc; London Philharmonic Orchestra; David Atherton, cond. Lyrita SRCD.209 Julian Lloyd Webber, vc; Philharmonia Orchestra; Vernon Handley, cond. BMG 74321 84112 2; Philips 442 530-2; RCA Red Seal RD70800; RCA Red Seal RS 9010* Raphael Wallﬁsch, vc; Royal Liverpool Philharmonic Orchestra; Richard Dickins, cond. Nimbus Records NI 5763 Tim Hugh, vc; Royal Scottish National Orchestra; David Lloyd-Jones, cond. Naxos 8.553696 D49. Japanese Suite (H126) London Symphony Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222 Philharmonia à Vent; John Boyd, cond. Elf ELFCD 1007 Arr. for 2 pn: Anthony Goldstone, Caroline Clemmow Divine Art 25024 D50. King Estmere (H70) Guildford Choral Society; Philharmonia Orchestra; Hilary Davan cond. Hyperion CDA66784

Wetton,

D51. Light Leaves Whisper (H20) Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D52. Lullay My Liking (H129) Choir of Magdalen College, Oxford; John Harper, cond. Alpha ACA 527* Christ Church Cathedral Choir; Simon Lawford, org; Stephen Darlington, cond.

Discography

219

Nimbus Records NI 7021; Musical Heritage Society 513135Y Christ Church Cathedral Choir of Men and Boys; Frederick Burgomaster, cond. Four Winds Entertainment FW 3003 Counterpoint; Robert De Cormier, cond. Albany Records TROY 801 Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH 55171; Hyperion Records CDA 66705 Liverpool Cathedral Choir; Ronald Woan, cond. Abbey Records MVP 785* D53. Lure, The (H149) London Symphony Orchestra; David Lyrita SRCS 128*

Atherton, cond. Lyrita SRCD.209;

Joyful Company of Singers; BBC National Orchestra of Hickox, cond. Chandos CHSA 5069†

Wales; Richard

D54. Lyric Movement (H191) Andriy Viutovych, va; English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 Cecil Aronowitz, va; English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD 223 New Zealand Chamber Orchestra; Nicholas Braithwaite, cond. Koch International Classics 3-7058-2H1 Rachel Bolt, va; London Festival Orchestra; Ross Pople, cond. Classics 74321 34022 2; Arte Nova Classics ANO 340220

Arte Nova

Stephen Tees, va; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 9270; Musical Heritage Society 5178409 Timothy Pooley, va; Hallé Orchestra; Mark Elder , cond. Helios CDH55350; Hyperion CDA67270, SACDA67270†; Musical Heritage Society 5167831 D55. Married Beau, The (Purcell) (H App. III, 20) Edmonton Symphony Orchestra; Pierre Hétu, cond. Canada SM 294*

CBC/Société Radio

D56. Moorside Suite, A (H173) Besses o’ th’ Barn Band; Ifor James, cond. Pye TB 3012* Black Dyke Mills Band; William Halliwell, cond. Beulah 1PD2 Grimethorpe Colliery Band; Elgar Howarth, cond. Decca 470 191-2; Decca SXL 6820*

220

Gustav Holst: a research and information guide

Grimethorpe Colliery RJB Band; Major Peter Parkes, Garry Cutt, cond. Chandos CHAN 4553 Hannaford Street Silver Band; Stephen Chenette, cond. Canadian Broadcasting Corporation SMCD 5103 London Collegiate Brass; James Stobart, cond. CRD 3434; Regis RRC 1200; CRD CRD 1134* London Brass Virtuosi; David Honeyball, cond. Hyperion A66189* Northern Sinfonia; David Lloyd-Jones, cond. Naxos Historical 8555070 Arr. for orchestra by Imogen Holst English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 Arr. for orch by Dennis Wright City of London Wind Ensemble; Geoffrey Brand, cond. Albany Records Troy 093 North Texas Wind Symphony; Eugene Migliaro Corporon, cond.GIA Publications CD-655 Philharmonia à Vent; John Boyd, cond. Elf ELFCD 1007 Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Kosei KOCD-3563 Arr. for orch by Gordon Jacob London Philharmonic Orchestra; Nicholas Braithwaite, cond. SRCD.210

Lyrita

D57. Morning of the Year, The (H164) Guildford Choral Society; Philharmonia Orchestra; Hilary Davan cond. Hyperion CDA 66784 Joyful Company of Singers; BBC National Orchestra of Hickox, cond. Chandos CHSA 5069†

Wetton,

Wales; Richard

Dances (arr. Colin Matthews, Imogen Holst) City of London Wind Ensemble; Geoffrey Brand, cond. G & M Recordings GMB 9601 London Symphony Orchestra; David Lyrita SRCS 128*

Atherton, cond. Lyrita SRCD 209;

D58. Morris Dance Tunes (Sharp) (H App. III, 12) Set I. 1. Bean Setting 2. Laudnum Bunches 3. Country Gardens. 4. Constant Billy 5. Trunkles 6. Morris Off Set II. 1. Rigs o’Marlow 2. Bluff King Hal 3. How d’ye do, sir? 4. Shepherd’s Hey 5. The Blue-Eyed Stranger 6. Morris Off London Festival Orchestra; Ross Pople, cond. Arte Nova Classics 74321 34022 2; ANO 340220; Arte Nova Classics/BMG Conifer 74321 60098 2

Discography

221

New Zealand Chamber Orchestra; Nicholas Braithwaite, cond. national Classics 3-7058-2H1

Koch Inter-

D59. Mystic Trumpeter, The (H71) Sheila Armstrong, sop; London Symphony Orchestra; David Atherton, cond. Lyrita SRCD 270; Lyrita SRCS 128* Claire Rutter, sop; Ladies of RSNO Chorus; Royal Scottish National Orchestra; David Lloyd-Jones, cond. Naxos 8.555776; Naxos 6.110004† D60. Nunc dimittis (H127) Aldeburgh Festival Singers; Peter Aston, cond. UEA Recordings UEA 82015* Arcadian Singers of Oxford University; Matthew O’Donovan, cond. Lammas Records LAMM 1370 Chichester Cathedral Choir; Alan Thurlow, cond. Priory PRCD 511 Choir of Royal Holloway, University of London; Rupert Gough, cond. Signum Classics SIGCD127 Choir of St. Mary’s Cathedral, Edinburgh; Matthew Owens, cond. Delphian DCD 34007 Choir of Westminster Cathedral, James O’Donnell, cond. 100; CDA 66669

Hyperion WCC

Christ Church Cathedral Choir; Simon Lawford, or g; Stephen Darlington, cond. Nimbus Records NI 7021; Musical Heritage Society 513135Y Clare College Choir; Timothy Brown, cond. Collegium Records COLCD 125 Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; Chandos CHAN 9425 Gabrieli Consort; Paul McCreesh, cond. Deutsche Grammophon 00289 477 6605 Holst Singers; Hilary Davan Wetton, cond. Hyperion CDA66329; Helios CDH55170 Queens’ College Chapel Choir , Cambridge; Rupert Jordan, cond. GMCD 7155

Guild

Sixteen; Harry Christophers, cond. Decca B0006825-02 Winchester Cathedral Choir; David Hill, cond. Virgin Classics 7243 5 45340 2 7; 7243 5 62086 2 9; Virgin Classics 0946 3 63307 2 3 Worcester Cathedral Choir; Donald Hunt, cond. Alpha CDCA 906; Grifﬁn GCCD 4043

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D61. O Lady Leave the Silken Thread (H4) Finzi Singers; Paul Spicer , cond. Chandos CHAN 241-6; Chandos CHAN 9425 D62. O Spiritual Pilgrim (H188) Holst Singers; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D63. Ode to Death (H144) London Symphony Chorus; London Philharmonic Orchestra; Sir Charles Groves, cond. EMI CDC 7 49409 2; Angel S 37455*; EMI ASD 3435*; HMV Greensleeve ESD 2900221* London Symphony Chorus; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 9437 D64. Of One That Is So Fair (H130) Choir of Magdalen College, Oxford; John Harper, cond. Alpha ACA 527* Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D65. Pan’s Anniversary (Vaughan Williams, arr. Holst) (H App. III, 1) Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D66. Perfect Fool, The (H150) Michael Rippon, bar; Norma Burrowes, sop; Michael Langdon, bass; Robert Tear, ten; London Symphony Orchestra; André Previn, cond. Angel Records S-37152*; EMI ASD 3097*; EMI 2YEA 5347-8*; World Record Club EMI 1814E* Ballet Music: BBC National Orchestra of Wales; Richard Hickox, cond. Chandos CHSA 5069† BBC Singers; BBC Symphony Orchestra; Charles Groves, cond. BBC Artium BBC CD 580X; BBC Enterprises BBC CD 580; BBC Records REH 290*; GRT 62012* English Chamber Orchestra; Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5; EMI Eminence 7243 5 65399 2 1; HMV/EMI Records 5721392 London Philharmonic Orchestra; Sir Adrian Boult, cond. Decca 470 191-2; Decca 440 318-2; London/Decca 425 152-2; Decca JB 49* London Philharmonic Orchestra; Sir Malcolm Sargent, cond. Beulah 1PD13

Discography

223

London Symphony Orchestra; André Previn, cond. EMI CDC 7 49784 2; EMI Classics 7243 5 62616 2 4; EMI Classics 7243 5 66934 2 5; Belart 461 3542; HMV Greensleeve ESD 1783041* London Symphony Orchestra; George Weldon, cond. Dutton CDCLP 4002 Orquesta Filarmónica de Gran Canaria; Adrian Leaper, cond. Arte Nova Classics 74321 27785 2; Arte Nova Classics ANO 277850 Philharmonia Orchestra; William Boughton, cond. Conifer CLASS 7042; Nimbus Records NI 5117; Nimbus Records NI 5450 Philharmonia Orchestra; Barry Wordsworth, cond. Collins Classics 11242 Royal Liverpool Philharmonic Orchestra; Sir Charles Mackerras, cond. Virgin Classics VC 7 90825-2; Virgo VJ 791457-2; Virgo 7596452; Virgin Classics 7243 5 61257 2 8; Virgin Classics 7243 5 61511 2 3 Royal Philharmonic Orchestra; Sir Malcolm Sar gent, cond. EMI Records 724358591323 Munich Symphony Orchestra; Douglas Bostock, cond. Classico CLASSCD 284; Scandinavian Classics 220559-205 Arr. for brass band by Gordon Langford: Black Dyke Mills Band; Major Peter Parkes, cond. Chandos BBRD 1031*

Chandos CHAN 4507;

Summit Brass Summit Records DCD 218 Arr. for 2 pn: Len Vorster, Robert Chamberlain Naxos 8.554369 D67. Piece for Yvonne, A Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382 D68. Planets, The (H125) 1. Mars, the Bringer of War 2. Venus, the Bringer of Peace 3. Mercury, the Winged Messenger 4. Jupiter, the Bringer of Jollity 5. Saturn, the Bringer of Old Age 6. Uranus, the Magician 7. Neptune, the Mystic. Atlanta Symphony Orchestra; women of the Atlanta Symphony Orchestra Chorus; Yoel Levi, cond. Telarc CD-80466 BBC National Orchestra of Wales; BBC National Chorus ofWales; Mark Elder, cond. BBC Music BBCP 1003-2 BBC Symphony Orchestra; unidentiﬁed female chorus; Adrian Boult, cond. AVID Records AMSC 582; Classica d’Oro CDO 1058; EMI Records CDH 7 63097 2; International Music Company 204562-308; L YS LYS030/31; His Master’s Voice ED 2907251

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Gustav Holst: a research and information guide

BBC Symphony Orchestra; Manchester Boys Choir; cond. BBC Music Magazine BBC MM49

Yan Pascal Tortelier,

BBC Symphony Orchestra; women of the BBC Symphony Chorus; Davis, cond. Apex 685738908721; Teldec 4509-94541-2

Andrew

BBC Symphony Orchestra; BBC Women’s Chorus; Sir Malcolm Sar gent, cond. EMI Records 724358591323; BBC Radio Classics BBCRD 9104; Seraphim 7243 5 69128 2 3 Berliner Philharmoniker; Frauenchor des Rundfunkchores Berlin DDR; Sir Colin Davis, cond. Philips 422 403-2; Philips B0000953-02 Berliner Philharmoniker; RIAS Kammerchor; Herbert von Karajan, cond. Deutsche Grammophon 400 028-2; Deutsche Grammophon 439 01 1-2; Musical Heritage Society 514648X; NIP KA 1028 Deutsche Grammophon: 2532 019*; Polydor International 2560 061* Berliner Philharmoniker; Rundfunkchor Berlin; Simon Rattle, cond. Classics 094636969022

EMI

Boston Pops Orchestra; women’ s voices of the Tanglewood Festival Chorus; Ian Underwood synthesizer; John Williams, cond. Philips 420 177-2; Philips 420 177-1* Boston Symphony Orchestra; New England Conservatory Chorus; Seiji Ozawa, cond. Philips 416 456-2; Philips 434 162-2; Philips 9500 782*; Philips 416 242-1* Boston Symphony Orchestra; New England Conservatory Chorus; William Steinberg, cond. Deutsche Grammophon 419 475-2; Deutsche Grammophon 413 852-2; 439 446-2; Deutsche Grammophon 477 6680; Deutsche Grammophon DG 2530 102*; Deutsche Grammophon 419 475-1* Bruckner Orchestra Linz; Mozart Choir Linz; Dennis Russell Davies, cond. Chesky Records SACD234† Budapest Philharmonic Orchestra; Chorus of the Hungarian State Opera House; Rico Saccani, cond. Independent Music & Media Alliance Ltd BPOL1005 Chicago Symphony Orchestra and Chorus; James Levine, cond. Grammophon 429 730-2

Deutsche

Cincinnati Symphony Orchestra; Paavo Järvi, cond. Telarc CD-80743 Cleveland Symphonic Winds, Frederick Fennell, cond. Telarc 5023* Concertgebouw Orchestra; Ambrosian Singers; Neville Marriner, cond. Philips 9500 425* CSR Symphony Orchestra (Bratislava); Adrian Leaper, cond. Enigma Classics 7 74685-2; Naxos 8.550193

Discography

225

Dallas Symphony Orchestra; women of the Dallas Symphony Chorus; Andrew Litton, cond. Delos DE 3225; Delos DV 7003# Dallas Symphony Orchestra; Eduardo Mata, cond. ProArte CDD 319

Intersound/PED 2541;

European Philharmonic Orchestra; Hymisher Greenbur g, cond. Symphonia Digital Classics SYM017 Georgian Festival Orchestra; Jahni Mardjani, cond. Sony Music Entertainment QK 57258 Festival Orchestra; Alberto Lizzio, cond. Legacy CJH 006 Hallé Orchestra; James Loughran, cond. EMI Records CD-CFP 4243; Music for Pleasure CFP 40243* Hallé Orchestra; ladies of the Hallé Choir; Mark Elder , cond. Helios CDH55350; Hyperion CDA67270, Hyperion SACDA67270†; Musical Heritage Society 5167831 London Festival Orchestra; Choristers of St. Paul’ s Cathedral; Ross Pople, cond. Academy Sound and Vision CD DCA 782 London Philharmonic Orchestra; Geof frey Mitchell Choir; Sir Adrian Boult, cond. Angel Studio CDM 7 69045 2; EMI CDI 5 68819 2; EMI CDM 7 69045 2; EMI Classics 0777 7 64748 2 3; EMI Classics 7243 5 67749 2 6; EMI ASD 3649* London Philharmonic Orchestra; John Alldis Choir; Bernard Haitink, cond. Philips 420 893-2 London Philharmonic Choir; London Philharmonic Orchestra; Sir Adrian Boult, cond. Concerto Classics OQ0053; Everest Records SDBR 3443* London Philharmonic Orchestra; ladies of the London Philharmonic Choir; Sir George Solti, cond. Decca 440 318-2; Decca/London 430 447-2; London/ Decca 425 152-2; London 414 567-2; London CS-71 10*; Mobile Fidelity Sound Lab MFSL 1-510* London Philharmonic; Hilary Davan Wetton, cond. Collins Classics 10352; Collins Classics 10351* London Symphony Orchestra; Albert Coates, cond. LYS LYS030/31 London Symphony Orchestra; Ambrosian Singers; André Previn, cond. EMI CDC 7 47160 2; EMI Angel AM-34761*; His Master’s Voice EG 29 0850 1* London Symphony Orchestra; Geof frey Simon, cond. AVM Classics CLSD 3001; LaserLight 14 010; Music Digital 31 001

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Gustav Holst: a research and information guide

London Symphony Orchestra; Gustav Holst, cond.EMI Classics 0777 7 54837 2 7; Golden Legacy GLRS 108; Koch International Classics 3-7018-2; LYS LYS030/31; Pearl GEMM CD 9417; Stanyan 2 SR 9017* London Symphony Orchestra; London Symphony Chorus; Richard Hickox, cond. Regis RRC 1200 London Symphony Orchestra; London Voices; Richard Hickox, cond. IMP Classics PCD 890; MCA Classics MCAD-25208 London Symphony Orchestra; ladies of the London Symphony Chorus; Sir Colin Davis, cond. LSO Live LSO0029 London Symphony Orchestra and Chorus; Sir Malcolm Sar gent, cond. Sine Qua Non SQN 7726*; Stanyan 2 SR 9017* Los Angeles Philharmonic Orchestra; female voices of the Los Angeles Master Chorale; Zubin Mehta, cond. Decca 417 677-2; Decca 289 452 910-2; Decca JVCXR-0228-2; London 289 452 910-2 Los Angeles Philharmonic Orchestra; Women’s Chorus of the Roger Wagner Chorale; Leopold Stokowski, cond. EMI Classics 7243 5 67469 2 3; EMI Classics CDM 5 65423 2 7; Seraphim S21-17378; Seraphim 4XG 60175* Melbourne Symphony Orchestra, José Serebrier, cond. BCI Eclipse 40522-2 NBC Symphony Orchestra; unidentiﬁed women’s chorus; Leopold Stokowski, cond. Cala CACD 0526 New Philharmonia Orchestra; Sir Adrian Boult, cond. EMI Classics 7243 5 66934 2 5 New Queen’s Hall Orchestra; ladies of the New Queen’ s Hall Chorus; Roy Goodman, cond. Carlton Classics 30366 00432 New York Philharmonic; Leonard Bernstein, cond. CBS LMYK 42545; Columbia MYK 37226; Sony Classical SBK 62400; Sony Classical SMK 63087; Sony Classical SMK 47567; CBS Records MY 37226* New York Philharmonic; New York Choral Artists; Zubin Mehta, cond. Teldec 2292-46316-2; Warner New Media 15001 Orchestre National de France; Lorin Maazel, cond. CBS Masterworks MK 37249; CBS Masterworks IM 37249* Orchestre symphonique de Montreal; women of the Orchestre symphonique de Montréal Chorus; Charles Dutoit, cond.Decca/London 417 553-2; Decca/London 289 460 606-2; Universal Classics/Decca 476 1724; London 417 553-1* Orquesta Filarmónica de Gran Canaria; Adrian Leaper, cond. Arte Nova Classics 74321 27785 2; Arte Nova Classics ANO 277850

Discography

227

Philadelphia Orchestra; women’ s voices of the Mendelssohn Club of Philadelphia; Eugene Ormandy, cond. RCA Victor 09026-61270-2; RCA Victor 09026-61724-2; RCA Victor 74321 17905 2; RCA Red Seal RL 11797*; RCA Gold Seal AGL1-5207*; RCA Gold Seal AGL1-3885* Philharmonia Orchestra; women’s voices of The Sixteen; Yevgeny Svetlanov, cond. Collins Classics 13482; Edgestone Classics EC029; Stargazing VMK-1056 Philharmonia Orchestra; female voices of the Ambrosian Singers; Simon Rattle, cond. HMV/EMI Records 5721392; EMI Classics 0946 3 30700 2 8; EMI Classics 7243 5 75868 2 5; EMI Records 0777 7 64740 2 1; EMI Records 7243 5 69244 2 0; EMI Records CD-EMX 9513;Angel DS-37817*; EMI 1 C067-43 028*; His Master’s Voice OASD-4047* Philharmonia Orchestra; London Children’ s Choir; Leonard Slatkin, cond. RCA Victor Red Seal/BMG Entertainment 09026-68819-2; RCA Red Seal 74321 68018 2 Philharmonia Orchestra; William Boughton, cond. Conifer CLASS 7042; Nimbus Records NI 5117; Nimbus Records NI 5450 Philharmonia Orchestra; women’s Voices of the Monteverdi Choir; John Eliot Gardiner, cond. Deutsche Grammophon 445 860-2; Deutsche Grammophon SACD 471634-2† Radio-Sinfonieorchester Stuttgart des SWR; female voices of Staatsopernchor Stuttgart and Vokalensemble Stuttgart; Sir Roger Norrington, cond. Hanssler Classic CD 93.043 Royal Concertgebouw Orchestra; members of the Ambrosian Singers; Sir Neville Marriner, cond. Belart 450 053-2; Philips/Universal Music Australia 450 053-2; Rose Records 450 053-2 Royal Liverpool Philharmonic Orchestra; women’ s voices of the Liverpool Philharmonic Chorus; Sir Charles Mackerras, cond. Virgin Classics VC 7 90825-2; Virgo VJ 791457-2; Virgo 7596452; Virgin Classics 7243 5 61257 2 8; Virgin Classics 7243 5 61511 2 3 Royal Philharmonic Orchestra; Cambridge Singers; Owain cond. Apex 2564 61991-2

Arwel Hughes,

Royal Philharmonic Orchestra; King’s College Choir, Cambridge; James Judd, cond. Denon CO-75076 Royal Philharmonic Orchestra; ladies of the Ambrosian Chorus; John McCarthy, cond. Durkin Hayes Music DHM 007 Royal Philharmonic Orchestra; Ambrosian Chorus; Vernon Handley, cond.

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Gustav Holst: a research and information guide

Allegria/International Music Company AG 221013-205; International Music Co 204407; Intersound 2807; Tring TRP007; Compendia Media Group 15095-3785-2 Royal Philharmonic Orchestra, ladies of the Philharmonia Chorus; Sir Charles Groves, cond. Castle Communications CRS CD 102; Cirrus CRS CD 102; Resonance CD RSN3028; Sanctuary CD RSN3028; St. ClairEntertainment FGC73352 Royal Philharmonic Orchestra; women of the Brighton Festival Chorus; André Previn, cond. Telarc CD-80133; Telarc DG-10133* Royal Scottish National Orchestra; ladies of RSNO Chorus; David LloydJones, cond. Naxos 8.555776; Naxos 6.110004† Royal Scottish National Orchestra; women’s voices of the RSNO Chorus; Sir Alexander Gibson, cond. Chandos CHAN 6633 Scottish National Orchestra; women’s voices of the SNO Chorus; Sir Alexander Gibson, cond. Chandos CHAN 8302; Musical Heritage Society MHS 416514; Chandos ABRD 1010*; Musical Heritage Society MHS 4514* St. Louis Symphony Orchestra; The Ronald Arnatt Chorale; Missouri Singers; Walter Susskind, cond. Essex Entertainment EXL-2-5218; Moss Music Group MCD 10038; Vox Box CDX 5105; Vox Productions 50; Vox Unique VU 9035; Turnabout QTV-S34598* Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Brain BOCD-7301 Toronto Symphony Orchestra; Toronto Children’s Chorus; Andrew Davis, cond. Angel CDR 724357373326; Angel/EMI CDC 547417; EMI Classics 0777 7 64300 2 7; Angel DS-37362*; EMI CDD 7643002* Vienna State Opera Orchestra; Vienna Academy Chorus; Sir Adrian Boult, cond. Deutsche Grammophon 289 471 240-2; MCAMCAD 80099; MCA Classics MCAD2-9813A; Westminster Gold WGS 8126* Wiener Philharmoniker; Wiener Staatsopernchor; Herbert von Karajan, cond. Award AWCD 28386; Decca 4758225; London 452 303-2; Decca JB 30*; Polygram Inc JL 41005* No. 7, with its original ending: Hallé Orchestra; ladies of the Hallé Choir; Mark Elder , cond. Helios CDH55350; Hyperion CDA67270, Hyperion SACDA67270†; Musical Heritage Society 5167831 Arr. for 2 pn by G. Holst: Anthony Goldstone, Caroline Clemmow Olympia OCD 683

Albany Records TROY 198;

Discography

229

Fiona York, John York; Black Box Music Ltd BBM1041 Richard Rodney Bennett, Susan Bradshaw; Delos International 8002; Delos DEL-25442* Nettle-Markham Pn Duo IMP Classics 3036700172; Saga Classics EC3346-2; Psyche Records PSY-6* Arr. for band: Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. King Record Co KICG 3066 Arr. for clarinet ensemble: University of Florida Clarinet Ensemble; Mitchell Estrin, cond.Mark Masters 6720-MCD Arr. for electronics: Andy Snitzer, digital editing, drum loops, synthesis; other performers Artist Share AS-0066 Isao Tomita, electronics RCA Victor 60518-2-RG; RCARed SealRCD1-1919; RCA Victor ARL1-1919* Patrick Gleeson, Julian Priester, polyphonic synthesizer Mercury SRI 80000* Robert Philip Orlando, synthesizers Cool Nation!/Hot Productions HTCD 4405 Star Inc., synthesizer Star CD 86036 Arr. for organ by Peter Sykes: Peter Sykes, org Raven OAR-380 Arr. for saxophone quartet, pn by Jun Nagao: Trouvère Quartet; Minako Koyanagi, pn Imagine Best Collection IMGN-3001 Arr. for wind ensemble by Merlin Patterson: University of Houston Wind Ensemble; Eddie Green, cond. Mark 2807-MCD Work based on The Planets: Hatch, Peter. Endangered Worlds. Canadian Chamber Ensemble, Daniel Warren, cond. Artifact Music ART-028 D69. Quintet in a minor (H11) Anthony Goldstone, pn; Elysian Wind Quintet Chandos CHAN 9077; Musical Heritage Society 5171979 D70. Sāvitri (H96) Felicity Palmer, sop, Philip Langridge, ten, Stephen Varcoe, bass, Richard Hickox Singers; City of London Sinfonia; Richard Hickox, cond. Hyperion A66099*

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Gustav Holst: a research and information guide

Janet Baker, mezzo-sop; Robert Tear, ten; Thomas Hemsley, bass; Osian Ellis, harp; The Purcell Singers; English Chamber Orchestra; Imogen Holst, cond. London 430 062-2; Decca 470 191-2; Intaglio 7451; Argo ZK 98* Manhattan School of Music Chamber Sinfonia and OperaTheater; Glen Barton Cortese, cond. Phoenix PHCD 145 D71. Scherzo (H192) London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222 London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081 Munich Symphony Orchestra; Douglas Bostock, cond. Classico CLASSCD 284 D72. Second Suite in F (H106) 1. March 2. Song without Words: I’ll Love my Love 3. Song of the Blacksmith 4. Fantasia on the Dargason Banda civica di Soncino; Giancarlo Locatelli, cond. Datum DAT 80002 Central Band of the Royal Air Force; Wing Commander Eric Banks, cond. EMI CDC 7 49608 2;Angel Eminence AE-34477*; EMI His Master’s Voice EL 27 0093 1*; EMI/Angel AE-34477* Cleveland Symphonic Winds; Frederick Fennell, cond. Telarc Digital CD-80038; Telarc Digital SACD-60639†; Telarc 5038*; Telarc 10038*; Telarc 5023* Eastman Wind Ensemble; Frederick Fennell, cond. Mercury 289 462 960-2 Edmonton Wind Ensemble; Harry Pinchin, cond. CBC SMCD 5165 Keystone Wind Ensemble; Jack Stamp, cond. Citadel Records CTD 88137 London Wind Orchestra; Denis Wick, cond. Resonance CD RSN3006; Academy of Sound and Vision ACA 1002*; Enigma K53565*; Musical Heritage Society MHS 4433*; Nonesuch N-78002* North Texas Wind Symphony; Eugene Migliaro Corporon, cond. Klavier K 11154 Regimental Band of the Coldstream Guards; R. A. Ridings, cond. Bandleader BNC 3002* Royal Northern College of Music Wind Orchestra; Timothy Reynish, cond. Chandos CHAN 9697 Texas A & M University Symphonic Band; 4816-MCD

Timothy Rhea, cond. Mark

Discography

231

Tokyo Kosei Wind Orchestra; Arnald D. Gabriel, cond. Kosei KOCD-2304; Kosei KOCD-2404/5; KOCD-3505 Tokyo Kosei Wind Orchestra; Frederick Fennell, cond. Kosei KOCD-3563; Kosei KOCD-3576 Tokyo Kosei Wind Orchestra; K. Komatsu, cond. Kosei KOR-8111* United States Air Force Band; Colonel Lowell E. Graham, cond. Klavier K 11161 University of Northern Colorado Wind Ensemble; Eugene Corporon, cond. Soundmark R972* Arr. for brass quintet Potsdam Brass Quintet Mark Custom 2782-MCD Arr. for clarinet ensemble University of Florida Clarinet Ensemble; Mitchell Estrin, cond.Mark Masters 8645-MCD Arr. for orch (Hampshire Suite) by Gordon Jacob London Philharmonic Orchestra; Nicholas Braithwaite, cond.Lyrita SRCD.210 Munich Symphony Orchestra; Douglas Bostock, cond. Classico CLASSCD 284; Scandinavian Classics 220559-205 D73. Seven Folk Songs (H85) No. 2, 3, 4 Robin Doveton, ten; Victoria Hartung, pn Prelude PMS 1502* D74. Seven Partsongs (H162) 1. Say Who is This? 2. O Love, I Complain 3.Angel Spirits of Sleep 4. When First we Met 5. Sorrow and Joy 6. Love on my Heart from Heaven Fell 7. Assemble All Ye Maidens Holst Singers; Hilary Davan Wetton, cond. Hyperion CDA66329; Helios CDH55170 Joyful Company of Singers; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 241-6; Chandos CHAN 9437 Purcell Singers; English Chamber Orchestra; Imogen Holst, cond.London 430 062-2; Decca 470 191-2; Argo ZK 74-75* D75. Seven Scottish Airs (H93) La Pietà; Angèle Dubeau, cond. Analekta AN 2 8721 Michael Freyhan, pn; London Festival Orchestra; Ross Pople, cond.Arte Nova Classics 74321 34022 2; Arte Nova Classics ANO 340220

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D76. Short Festival Te Deum (H145) London Symphony Chorus; London Philharmonic Orchestra; Sir Charles Groves, cond. EMI CDC 7 49784 2; Angel S 37455*; ASD 3435*; HMV Greensleeve ESD 2900221* D77. Short Part Songs (H13) 1. In the Forest Moonbeam-Brightened 2. All the Nests with Song are Ringing. 3. Soft and Gently Through my Soul No. 3 only: Finzi Singers; Paul Spicer , cond. Chandos CHAN 241-6; Chandos CHAN 9425 D78. Short Trio in E Major (H App. I, 33) Pirasti Trio Academy Sound and Vision CD DCA 925 D79. Sing Me the Men (H160) CBSO Chorus; Simon Halsey , cond. Conifer CDCF 142; Conifer Classics 75605 51752 2; Conifer CFC 142* Finzi Singers; Paul Spicer, cond. Chandos CHAN 9425 D80. Sita (H89) Act 3. Interlude London Philharmonia Orchestra; David Atherton, cond. Lyrita SRCD.209 Act 3, Closing Scene: Soloists and orchestra of Opera 101-102*

Viva; Leslie Head, cond.

Opera Viva OV

D81. Six Choral Folk Songs (H136) 1. I Sowed the Seeds of Love 2. There was a Tree 3. Matthew, Mark, Luke and John 4. The Song of the Blacksmith 5. I Love my Love 6. Swansea Town Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 No. 1, 3-6: Baccholian Singers of London. EMI Classics 50999 2 16155 2 8; Odeon/EMI CSD.3764*; World Record Club WRC 1730E* Cambridge Singers; John Rutter, cond. American Gramaphone AG 500* No. 4 only: Orphei drängar; Robert Sund, cond. BIS CD-733 Purcell Singers; Imogen Holst, cond. Argo ZK 74-75*

Discography

233

No. 5 only: BBC Singers; Justin Doyle, cond. BBC Music Magazine BBC MM252 London Madrigal Singers; Christopher Bishop, cond. EMI Classics 7243 5 65123 2 0 D82. Six Choruses (H186) 1. Intercession 2. Good Friday 3. Drinking Song 4. A Love Song 5. How Mighty are the Sabbaths 6. Before Sleep Baccholian Singers of London EMI Records 7243 5 75981 2 5 Holst Singers; Holst Orchestra; Hilary Davan CDA66329; Helios CDH55170

Wetton, cond. Hyperion

No. 1–4, 6 Baccholian Singers of London EMI Classics 7243 5 65123 2 0 No. 1–5: Baccholian Singers of London; English Chamber Orchestra; Ian Humphris, cond. World Record Club WRC 1730E* Purcell Singers; Imogen Holst, cond. Argo ZK 74-75* D83. Six Songs (H69) 1. Calm is the Morn 2. My True Love Hath my Heart 3. Weep You No More 4. Lovely Kind and Kindly Loving 5. Cradle Song 6. Peace Susan Gritton, sop; Steuart Bedford, pn 8.557117

Collins Classics 15322; Naxos

No. 3 only: Robert Bracey, ten; Andrew Harley, pn Centaur Records CRC 2779 D84. Somerset Rhapsody, A (H87) Bournemouth Symphony Orchestra, Sir Charles Groves, cond. Saga Classics EC 3353-2 Bournemouth Sinfonietta; Norman Del Mar, cond. Angel CDR 724357373326; EMI Classics 7243 5 65130 2 0; EMI CDC 7 47812 2; His Master ’s Voice ASD 3953* English Chamber Orchestra; Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5; EMI Eminence 7243 5 65399 2 1 London Philharmonic Orchestra; Sir Adrian Boult, cond. Lyrita SRCD 222 London Symphony Orchestra; George Weldon, cond. Dutton CDCLP 4002 London Symphony Orchestra; Richard Hickox, cond. Chandos CHAN 9420; Musical Heritage Society 5168081

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Royal Philharmonic Orchestra; Cambridge Singers; Owain cond. Apex 2564 61991-2

Arwel Hughes, Classical

Royal Scottish National Orchestra; David Lloyd-Jones, cond. Communications CCL CDG1213; Naxos 8.553696

Arr. for orch by Clare Grundman North Texas Wind Symphony; Eugene Migliaro Corporon, cond.GIA Publications CD-655 D85. Song of the Night, A (H74) Janice Graham, vn; English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 Lesley Hatﬁeld, vn; Northern Sinfonia; Richard Hickox, cond. CHAN 9734

Chandos

D86. Songs from The Princess (H80) Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D87. Songs of the West (H86) Harmonie De Volksgalm Zichen Zussen Bolder; Sandro Moretti, cond. World Wind Music 500.029 Arr. for wind ensemble by James Curnow City of London Wind Ensemble; Geoffrey Brand, cond. LDR LDRC 1001 D88. St. Paul’s Suite (H118) Academy of St. Martin-in-the-Fields; Kenneth Sillito, cond. Collins Classics 12342; Musical Heritage Society 513517T Academy of St. Martin-in-the-Fields; Sir Neville Marriner Classics HMV 7 67650 2

, cond. HMV

Bournemouth Sinfonietta; Geor ge Hurst, cond. Chandos CHAN 8375; Chandos CBR 1020*; Chandos Records CBR 1020* Bournemouth Sinfonietta; Richard Studt, cond. Naxos 8.550823 Budapest Strings; Károly Botvay, cond. Capriccio 10 584 Camerata Wales; Owain Arwel Hughes, cond. BIS BIS-CD-1589 City of London Sinfonia; Richard Hickox, cond. Musical Heritage Society 5178409

Chandos CHAN 9270;

Dalarnas kammarorkester; Karl-Ove Mannberg, cond. Bluebell ABCD 3007 English Chamber Orchestra; Yehudi Menuhin, cond. EMI Records 7243 5 75981 2 5; EMI Eminence 7243 5 65399 2 1; HMV/EMI Records 5721392

Discography

235

English Sinfonia; Howard Grifﬁths, cond. Naxos 8.570339 English Sinfonia; John Farrer , cond. IMP Classics 30367 02312; Masters MCD 60 English String Orchestra; William Boughton, cond. Nimbus Records NI 7019; Nimbus Records NIM5030; Nimbus Records NI 5032 Guildhall String Ensemble RCA Victor Red Seal 7761-2-RC La Pieta Fleurs de lys FL 2 3125 London Festival Orchestra; Ross Pople, cond. Arte Nova Classics 74321 34022 2; ANO 340220; Academy Sound and Vision CD DCA 782 Manhattan Chamber Orchestra; Richard Auldon Clark, cond. Keuka Classical MCO8898 New Queen’s Hall Orchestra; Roy Goodman, cond. Carlton Classics 30366 00432 New Zealand Chamber Orchestra; Nicholas Braithwaite, cond. Koch International Classics 3-7058-2H1 L’Orchestre de chambre de Montréal; 607-CD

Wanda Kaluzny, cond. SNE SNE-

Philharmonia Orchestra; George Weldon, cond. Dutton CDCLP 4002 Polnisches Kammerorkester; Volker Schmidt-Gertenbach, cond. Aperto apo 86 423 RIAS Sinfonietta; David Atherton, cond. Koch International 316102; Schwann Musica Mundi VMS 2075* Royal Philharmonic Orchestra; Sir Malcolm Sar gent, cond. EMI Records Limited CD-EMX 2141 (CDM 7 69826-2); EMI CDC 7 49784 2; Seraphim S21-17378 Royal Philharmonic Orchestra; Alan Barlow, cond. Academy Sound and Vision CD QS 6070; Sanctuary Classics CD RSN 3049 Royal Philharmonic Orchestra, ladies of the Philharmonia Chorus; Sir Charles Groves, cond. Castle Communications CRS CD 102; Cirrus CRS CD 102; Resonance CD RSN3028; Sanctuary CD RSN 3028; St. ClairEntertainment FGC73352; Tring TRP007 Royal Philharmonic Orchestra; Vernon Handley, cond. Allegria/International Music Company AG 221013-205; International Music Co 204407; Intersound 2807 Scottish Ensemble; Jonathan Rees, cond.Virgin Classics VC 7911122; Virgin/ EMI Music Canada VJ 7 59672-2

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St. Paul Chamber Orchestra; Christopher Hogwood, cond. Philips B0000953-02 The String Orchestra; Gustav Holst, cond. Pearl GEMM CD 9417 Arr. for clarinet ensemble by Roger Garrett: Roger Garrett, et al., cl NOViTAS Records MM309911 Arr. for guitar: Guitar Trek ABC Classics 432 698-2 Los Angeles Guitar Quartet GHA 126.016 Arr. for woodwind quartet: Silverwood Quartet Flying Frog Music FF0103 D89. Suite de Ballet (H43) CSR Symphony Orchestra (Bratislava); Adrian Leaper, cond. Enigma Classics 7 74685-2; Naxos 8.550193 London Philharmonic Orchestra; Nicholas Braithwaite, cond. SRCD.210; Lyrita SRCS.120*

Lyrita

Northern Sinfonia; Richard Hickox, cond. Chandos CHAN 9734 D90. Suites No. 1–2 from The Gordian Knot Untied (H App. III, 18)

(Purcell; arr. Holst)

Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D91. Suite from the Married Beau (Purcell; arr. Holst) (H App. III, 20) Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D92. Suite from The Virtuous Wife (Purcell; arr. Holst) (H App. III, 19) Philharmonia Bulgarica; Jon Ceander Mitchell, cond. Centaur CRC 2857 D93. Terzetto (H158) Chamber Music Palm Beach Klavier K 11160 Huntingdon Trio Leonarda LE 325 James Dunham, va; Westwood Wind Quintet Crystal Records CD647 Lisa Hansen, ﬂ; Robert Ingliss, ob; Theodore Arm, va Musical Heritage Society: MHS 912029* Westwood Wind Quintet Crystal Records S647* D94. This Have I Done for My True Love (H128) BBC Singers; Simon Joly, cond. BBC Music Magazine BBC MM125 Choir of Keble College, Oxford; Philip Stopford, cond.Priory Records PRCD 657

Discography

237

Choir of Magdalen College, Oxford; John Harper, cond. Alpha ACA 527* Choir of St. John’s College, Cambridge; David Hill, cond.Hyperion CDA67576 Choir of St. John’s College, Cambridge; Christopher Robinson, cond. Nimbus NI 5414; Musical Heritage Society 515182F Christ Church Cathedral Choir; Stephen Darlington, cond. Nimbus NI 7021; Musical Heritage Society 513135Y Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; Chandos CHAN 9425 Holst Singers; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 Purcell Singers; Imogen Holst, cond. Argo ZK 74-75* D95. Three Carols (H133) 1. I Saw Three Ships 2. Christmas Song [Personent hodie] 3. Masters in this Hall No. 2 only: King’s College Choir, Cambridge; David Goode, org; Stephen Cleobury, cond. Regis Records RRC 1044 No. 2–3: Christ Church Cathedral Choir; Simon Lawford, or cond.

g; Stephen Darlington,

Nimbus Records NI 7021; Musical Heritage Society 513135Y D96. Three Festival Choruses (H134) 1. Let All Mortal Flesh Keep Silence 2. Turn Back O Man 3. A Festival Chime Trinity College Choir; Richard Marlow, cond. Grifﬁn GCCD 4045 No. 2 only: Choir of St. Paul’s Cathedral; Andrew Lucas, org; John Scott, cond. Hyperion CDA 66618 Choir of the Collegiate Church of St. Mary; PaulTrepte, cond. Alpha APS 340* Choir of Trinity College, Cambridge; Richard Marlow, cond. Pearl SHE 585* Liverpool Cathedral Choir; Ronald Woan, cond. Abbey Records MVP 785* Norwich Cathedral Choir; Michael Nicholas, cond. Vista VPS 1084* D97. Three Hymns for the English Hymnal (H73) 1. In the Bleak Mid-Winter [Cranham] 2. From Glory to GloryAdvancing [Sheen] 3. Holy Ghost, Come Down [Bossiney]

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No. 1: Christ Church Cathedral Choir; Simon Lawford, org; Stephen Darlington, cond. Nimbus Records NI 7021; Musical Heritage Society 513135Y Kiri Te Kanawa, sop; Michael George, bar; BBC Philharmonic, Robin Stapleton, cond. Erato 3984-26539-2 Leeds Parish Church Choir Abbey MVP 756* London Festival Orchestra; Ross Pople, cond. 34022 2; ANO 340220

Arte Nova Classics 74321

Ouachita Baptist University Symphonic Band; Craig V. Hamilton, cond. Mark Custom Recording 3460-MCD Tudor Choir; Doug Fullington, cond. Loft Recordings LRCD 1062; Pelican Records CD PR-FWHF Arr. for orch by Robert W. Simpson North Texas Wind Symphony; Eugene Migliaro Corporon, cond.GIA Publications CD-655 Arr. for band by Robert W. Smith: George Mason University Wind Ensemble; Ben Hawkins, cond. CPP Media EL9748CD Arr. for brass band by Stephen Bulla Breeze Brass Band; Kazuyoshi Uemura, cond. Kosei KOCD-2508 D98. Three Pieces (H8A) 1. March 2. Minuet 3. Scherzo Sarah Francis, ob; English String Quartet Chandos CHAN 8392; Chandos ABRD 1114* D99. Toccata (H153) Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382 Fiona York, John York, pn; Black Box Music Ltd BBM1041 D100. Twelve Songs (H174) 1. Persephone 2. Things Lovelier 3. Now in these Fairylands 4. A Little Music 5. The Thought 6. The Floral Bandit 7. Envoi 8. The Dream-City 9. Journey’s End 10. In the Street of Lost Time 11. Rhyme 12. Betelgeuse Peter Pears, ten; Benjamin Britten, pn Argo ZK 74-75* Philip Langridge, ten; Steuart Bedford, pn 8.557117

Collins Classics 15322; Naxos

Discography

239

No. 1–4, 6–9, 11–12 arr., orch’d Colin Matthews as The Dream-City Felicity Palmer, mezzo-sop; Philip Langridge, ten; StephenVarcoe, bass; Richard Hickox Singers; Patrizia Kwella, sop; City of London Sinfonia; Richard Hickox, cond. Hyperion CDA66099; Helios CDH55042; Musical Heritage Society 5171068 No. 1, 3, 4, 6, 8, 9 only: Sarah Leonard, sop; Malcolm Martineau, pn United Recording Co CD 88016 No. 3, 8 only: Philip Langridge, ten; Susan Gritton, sop; Christopher Maltman, bar; Steuart Bedford, pn Naxos 8.557559--8.557560 Nos. 4, 5, 6 only: Ian Partridge, ten; Jennifer Partridge, pn Musical Heritage Society MHS 4531*

Enigma Records VAR 1027*;

Arr. as Dream-City (song cycle) by Colin Matthews: Patrizia Kwella, sop, City of London Sinfonia; Richard Hickox, cond. Hyperion A66099* D101. Twelve Welsh Folk Songs (H183) 1. Lisa Lan. 2. Green Grass. 3. The Dove. 4. Awake, Awake. 5. The Nightingale and Linnet. 6. The Mother-in-Law. 7. The First Love. 8. O ‘Twas on a Monday Morning. 9. My Sweetheart’ s Like Venus. 10. White Summer Rose. 1 1. The Lively Pair. 12. The Lover’s Complaint. Purcell Singers; Imogen Holst, cond. Argo ZK 74-75* Nos. 2, 7 only: BBC Singers; Justin Doyle, cond. BBC Music Magazine BBC MM252 No. 9 only: Cambridge Singers; John Rutter , cond. Collegium Records COLCD 104; American Gramaphone AG 500*; Collegium Records COL 104* Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 D102. Two Carols (H91) Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171; Hyperion Records CDA66705 BBC Singers; Justin Doyle, cond. BBC Music Magazine BBC MM252 Peter Pears, ten; Edward Selwyn, ob; Argo ZK 74-75* D103. Two Dances from Ianthe (H App. I, 42A) Anthony Goldstone, Caroline Clemmow, pn Chandos CHAN 9382

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Gustav Holst: a research and information guide

D104. Two Eastern Pictures (H112) Elektra Women’s Choir; Morna Edmundson, Diane Loomer, cond. Skylark 9602 Holst Singers; David Theodore, ob; Robert Truman, vc; Sioned Williams, harp; Stephen Layton, cond. Helios CDH55171 Royal College of Music Chamber Choir; Royal Philharmonic Orchestra; Osian Ellis, harp; Sir David Willcocks, cond. Unicorn-Kanchana DKP (CD) 9046; Unicorn-Kanchana DKP 9046* D105. Two Pieces for Pn (H179) 1. Nocturne 2. Jig Anthony Goldstone, Caroline Clemmow Chandos CHAN 9382 Fiona York, John York; Black Box Music Ltd BBM1041 John McCabe, pn BMS Historic BMS103CDH No. 1 only: English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 D106. Two Psalms (H117) 1. Psalm 86 2. Psalm 148 Choir of All Souls Church, New York City; Walter Klauss, cond. Ethereal Recordings ER-109 John Mark Ainsley, ten; Britten Singers; City of London Sinfonia; Richard Hickox, cond. Chandos CHAN 8997 Holst Singers; Hilary Davan Wetton, cond. Hyperion CDA66329; Helios CDH55170 Queens’ College Chapel Choir , Cambridge; Rupert Jordan, cond. GMCD 7155

Guild

No. 1 only: Ian Partridge, ten; Purcell Singers; English Chamber Orchestra; Imogen Holst, cond. EMI Classics 7243 5 65588 2 3; EMI CDC 7 49784 2; HMV Greensleeve ESD 2900221* No. 2 only: Azusa Paciﬁc University Choir; Concertante Ensemble of London; Gary Bonner cond. Resmiranda 8006 Royal College of Music Choir; Sir David Willcocks, cond. HMV Greensleeve ESD 7172* Tenebrae; Nigel Short, cond. Signum Classics SIGCD085

Discography

241

D107. Two Songs without Words (H88) 1. Country Song 2. Marching Song City of London Sinfonia; Richard Hickox, cond. Musical Heritage Society 5178409

Chandos CHAN 9270;

English Chamber Orchestra; Imogen Holst, cond. Lyrita SRCD.223 London Symphony Orchestra; Gustav Holst, cond. Pearl GEMM CD 9417 Royal Liverpool Philharmonic Orchestra; Sir Charles Groves, cond. Musical Heritage Society MHS 4533* No. 2 only: Cantium Winds; Brendon Le Page, cond. Cardinal CSCD102 North Texas Wind Symphony; Eugene Migliaro Corporon, cond.GIA Publications CD-655 London Symphony Orchestra; George Weldon, cond. Dutton CDCLP 4002 Royal Northern College of Music Wind Orchestra; Timothy Reynish, cond. Chandos CHAN 9697 Royal Liverpool Philharmonic Orchestra; Sir Charles Groves, cond. Classics for Pleasure CD-CFP 4567

EMI/

D108. Walt Whitman (H42) London Philharmonic Orchestra; Nicholas Braithwaite, cond. SRCD.210

Lyrita

Munich Symphony Orchestra; Douglas Bostock, cond. Classico CLASSCD 284; Scandinavian Classics 220559-205 D109. Wandering Scholar, The (H176) Janet Baker, mezzo-sop; Robert Tear, ten; Thomas Helmsley, bass; Patricia Clark, sop; Robert Tear, ten; Thomas Hemsley, bar; Harold Blackburn, bass. English Chamber Orchestra; Imogen Holst, cond. Intaglio 7451 Men’s voices of the Liverpool Philharmonic Choir; Royal Liverpool Philharmonic Orchestra; David Atherton, cond. EMI Classics 724356512726 Michael Rippon; Norma Burrowes; Michael Langdon; Robert Tear; English Opera Group; English Chamber Orchestra; Steuart Bedford, cond. EMI Classics 50999 9 68929 2 3; EMI CDC 7 49409 2;Angel Records S-37152*; EMI ASD 3097*; EMI 2YEA 5347-8*; World Record Club EMI 1814E* Ingrid Attrot, sop; Neill Archer, ten; Alan Opie, bar; Donald Maxwell, bass; Northern Sinfonia; Richard Hickox, cond. Chandos CHAN 9734

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Gustav Holst: a research and information guide

D110. Wassail Song (H182) Christ Church Cathedral Choir; Stephen Darlington, cond. Nimbus Records NI 7021 D111. Wind Quintet (H67) Anthony Goldstone, pn; Elysian Wind Quintet Chandos CHAN 9077; Musical Heritage Society 5171979 Aulos Woodwind Quintet Schwann Musica Mundi VMS 1063* Belgian Wind Quintet Discover International/NIKKI DICD 920322 Galiard Ensemble Meridian CDE 84429 Quintette à Vent Eglogue Artlab 97867 Vega Wind Quintet LDR LDRC 1002 D112. Winter and the Birds (H App. I, 40) Finzi Singers; Paul Spicer, cond. Chandos CHAN 241-6; Chandos CHAN 9425

Index of works Works are listed alphabetically with the thematic catalog number given in parenthesis. Works that are part of a larger work or an arrangement have the main work title or original composer’s name, respectively, in parenthesis following the part title. When a work is known by more than one title, both have been included in the list. References are to citation numbers in the bibliography. Citation numbers preceded by “D” refer to the discography. A Air and Variations (H App. I, 32), D1 Arpeggio Study (H App. I, 17), D2 Assemble All Ye Maidens (Seven Partsongs, H162), 664 At the Boar’s Head (H156), 550, 552, 556, 557, 564, 655, 678–688, D3 Autumn is Old, The (H1), D4 Ave Maria (H49), 622, 629, 640, 644, D5 B Bells, The (H184), 659, 689, 690 Beni Mora (H107), 170, 410, 439, 567, 569, 589, 590, 652, 655, 691, D6 “Betelgeuse” (Twelve Songs, H174), 660 Bossiney, see “Holy Ghost, Come Down” (Three Hymns for the English Hymnal, H73) Bring us in Good Ale (H131), D7 Brook Green Suite (H190), 569, 586, 660, 692, D8 Brookend (H161), 644 C Capriccio [Jazz Band Piece] (H185), 569, 587, 610, 693, 694, D9 Choral Fantasia, A (H177), 66, 333, 334, 464, 518, 524, 569, 662, 664, 696, 697, D10 Choral Hymns from the Rig Veda (1st–4th groups, H97–H100), 179, 491, 622, 629, 635, 640, 656, 698–701, D11

Chrissemas Day in the Morning (H165), 619, D12 Christmas Day (H109), 569, 577, 702, D13 Cloud Messenger, The (H111), 170, 437, 490, D14 Come Live with Me (H189), 269 Coming of Christ, The (H170), 633, 703, D15 Cotswolds, The (H47), 63, 652, 704, D16 “Country Song” (Two Songs without Words, H88), 573, 963 Cranham, see “In the Bleak Midwinter” (Three Hymns for the English Hymnal, H73) D Deux Pièces (H50), D17 Dirge and Hymneal (H124), 659, D18 Dirge for Two Veterans, A (H121), 486, 487, 635, D19 Diverus and Lazarus (H137), D20 Double Concerto (H175), 318, 459, 518, 569, 573, 576, 588, 596, 655, 705–707, D21 Dream of Christmas, A (H139), 622, 632 “Dream Tryst” (Five Partsongs, H61), 751 Duet for Organ and Trombone (H App. I, 31), 339, 708–710, D22 E Egdon Heath (H172), 36, 383, 426, 437, 446, 452, 454, 464, 479–484, 518, 524, 569, 573, 580, 655, 662, 664, 711–719, D23 243

244 Eight Canons (H187), 657, D24 “Eternal Father” (Two Anthems, H169), 644, 720 Evening-Watch, The (H159), 644, 657, D25 F Fantasia on Hampshire Folksongs (H135), 577, 656 First Choral Symphony (H155), 59, 183, 283, 323, 428, 478, 524, 569, 593, 655, 721–739, D26 “First Love, The” (Twelve Welsh Folk Songs, H183), 640 First Suite in E-Flat (H105), 473, 503–505, 570, 572, 582, 587, 597, 598, 602–604, 607–612, 666, 671, 677, 740–748, D27 Five Partsongs (H48), 749, 750 Five Partsongs (H61), D28 Folk Song Fragments (H166), 619, D29 Folk Songs from Hampshire (H83), 91 Four Old English Carols (H82), 622, D30 Four Songs (H14), D32 Four Songs (H132), 614, 621, 648, 655, 753–756, D31 “From Glory to Glory Advancing” (Three Hymns for the English Hymnal, H73), 626, 639 Fugal Concerto (H152), 97, 235, 270, 576, 588, 616, 664, 757, 758, D33 Fugal Overture, A (H151), 383, 505, 524, 577, 581, 662, 759, D34 Fugue a la Gigue (Bach) (H App. III, 25), D35 G Golden Goose, The (H163), 549, 655, 656, D36 “Green Grass” (Twelve Welsh Folk Songs, H183), 640 Greeting (H54), D37 H Hammersmith (H178), 231, 452, 454, 464, 459, 505, 518, 569, 570, 573, 582, 587, 591, 603, 604, 607, 608, 609, 610, 611, 677, 761–769, D38 Heart Worships, The (H95), 621, 648, D39

of Index works Hecuba’s Lament (H115), 622, 770 “Holy Ghost, Come Down” (Three Hymns for the English Hymnal, H73), 639 Homecoming, The (H120), D40 “How Mighty are the Sabbaths” (Six Choruses, H186), 660 Hymn of Jesus, The (H140), 107, 183, 318, 333, 383, 423, 457, 464, 536, 539, 569, 593, 631, 633, 644, 654, 665, 771–792, D41 Hymn to Dionysus (H116), 478, 622, D42 “Hymn to the Waters” (Choral Hymns from the Rig Veda, 3rd group, H99), 621 Hymns from the Rig Veda (H90), 31, 146, 323, 490, 492, 494, 793, D43 I “I Love my Love” (Six Choral Folk Songs, H136), 621, 640, 941, 942 I Vow to Thee, My Country (H148), 91, 93, 610, 626, 635, 639, D44 Ianthe (H App. I, 42), 279 Idea, The (H21), 279, 546 “In the Bleak Midwinter” (Three Hymns for the English Hymnal, H73), 91, 237, 569, 577, 621, 626, 632, 639, 953–957 In Youth is Pleasure (H76), D45 Incidental music for the Pageant of St. Martin-in-the-Fields (H App. III, 22), 794, D46 Incidental Music to a London Pageant (H114), 600, 609 Indra (H66), 651, D47 Invocation (H75), 569, 576, 656, D48 J Japanese Suite (H126), D49 Jazz Band Piece, see Capriccio “John Barleycorn,” (Folk Songs from Hampshire, H83), 91 K King Estmere (H70), 170, 656, 795, D50 L Lansdown Castle, or The Sorcerer of Tewkesbury (H App. I, 21), 546, 796

Index of works “Let All Mortal Flesh” (Three Festival Choruses, H134), 577 Lied ohne Worte (H51), 797 Light Leaves Whisper (H20), D51 “Love on My Heart From Heaven Fell” (Seven Partsongs, H162), 622 Lullay my Liking (H129), D52 Lure, The (H149), 425, 569, 659, D53 Lyric Movement (H191), 270, 569, 576, 592, 656, 660, 798, D54 M Magic Mirror, The (H App. II, 12), 279, 546 “Marching Song” (Two Songs without Words, H88), 322, 417, 600, 605 Margrete’s Cradle-Song (Four Songs, H14), 648 Married Beau, The (Purcell) (H App. III, 20), D55 “Matthew, Mark, Luke and John” (Six Choral Folk Songs, H136), 406 Moorside Suite, A (H173), 274, 505, 571, 587, 597, 600, 605, 606, 608–610, 618, 666, 799–801, D56 Morning of the Year, The (H164), 573, 656, 664, 802, 803, D57 Morris Dance tunes (Sharp) (H App. III, 12), 600, 605, 804, D58 Mystic Trumpeter, The (H71), 63, 146, 487, 656, 805, D59 N “Now is the Month of Maying” (Five Partsongs, H61), 468 Nunc dimittis (H127), D60 O O England my Country (H103), 806 O Lady, Leave that Silken Thread (H4), D61 O Spiritual Pilgrim (H188), 807, D62 “O Strong of Heart” (Eight Canons, H187), 103 Ode to C. K. S. and the Oriana (H157), 656 Ode to Death (H144), 176, 179, 182, 486, 487, 508, 662, 664, 808–811, D63

245 Of One That is so Fair (H130), D64 Opera As She is Wrote (H App. II, 15), 812, 813 P Pan’s Anniversary (Vaughan Williams) (H App. III, 1), 814, 815, D65 Pastoral (H92), 629, 660 “Peace” (Six Songs, H69), 648 Perfect Fool, The (H150), 170, 542, 548–550, 556, 557, 573, 610, 655, 661, 816–840; “Ballet Music,” 235, 322, 377, 505, 569, 577, 581, 664, D66 Phantastes (H108), 651 Piece for Yvonne (H154), D67 Planets, The (H125), 96, 101, 118, 144, 145, 176, 182, 183, 193, 235, 246, 247, 250, 268, 271, 272, 292, 318, 327, 331–333, 377, 383, 409, 420, 423, 425, 427, 434, 439, 446, 454, 459, 461, 462, 464, 478, 495, 504, 505, 521, 533, 536, 566, 567, 569, 573, 580, 581, 589, 590, 593, 655, 656, 658, 676, 841–900, 977–995, D68; “Jupiter,” 69, 417, 473, 572, 587, 604, 667, 901, 902; “Mars,” 117, 128, 456, 473, 478, 501, 572, 587, 666, 904; “Mercury,” 117; “Saturn,” 473; “Venus,” 903, 904 Pluto: The Renewer (Colin Matthews), 905–907 Psalm 100 (Ravenscroft), 628 Psalm 148 (Two Psalms, H117), 961, 962 Q Quintet in a minor (H11), D69 R Ratri (H90A), 908 Revoke, The (H7), 279, 546 S Sāvitri (H96), 267, 321, 447, 464, 489, 490, 491, 494, 545, 548–555, 557, 561, 614, 651, 655, 661, 909–924, D70 Scherzo (H192), 270, 454, 505, 665, 925–927, D71

246 Second Suite in F (H106), 417, 472, 473, 503–505, 570, 572, 582, 587, 597, 598, 602, 603, 607–611, 666, 671, 677, 928–933, D72 Seven Choruses from Alcestis (H146), 121, 934 Seven Folk Songs (H85), D73 Seven Partsongs (H162), 629, 657, 935–938, D74 Seven Scottish Airs (H93), 614, D75 Sheen, see “From Glory to Glory Advancing” (Three Hymns for the English Hymnal, H73) Short Festival Te Deum (H145), 644, 939, D76 Short Part Songs (H13), D77 Short Trio in E Major (H App. I, 33), D78 “Sing Ivy” (Folk Songs from Hampshire, H83), 91 Sing Me the Men (H160), D79 Sita (H89), 63, 270, 490, 543, 546, 659, 940, D80 Six Choral Folk Songs (H136), 635, D81 Six Choruses (H186), 635, D82 Six Songs (H69), 943, D83 “Slumber-Song” (Four Songs, H14), 648 Somerset Rhapsody, A (H87), 235, 383, 569, 573, 581, 587, 610, 651, 655, 665, D84 Song of the Night, A (H74), D85 “Song of the Ship-Builders” (Four Partsongs, H110), 635 “Song of the Shoemakers” (Four Partsongs, H110), 635 Songs from The Princess (H80), 146, 629, 643, D86 Songs of the West (H86), 63, D87 St. Paul’s Suite (H118), 59, 101, 118, 383, 434, 566, 569, 577, 590, 945–951, D88 String Trio in G Minor (H App. 1, 34), 659 Suite de Ballet (H43), 179, D89 Suite from The Married Beau (Purcell; arr. Holst) (H App. III, 20), D91 Suite from The Virtuous Wife (Purcell; arr. Holst) (H App. III, 19), D92 Suites No. 1–2 from The Gordian Knot Untied (Purcell; arr. Holst) (H App. III, 18), D90

of Index works Swallow Leaves her Nest, The (H119), 629 Symphony in F ‘The Cotswolds,’ see The Cotswolds (H47) T “Terly Terlow” (Two Carols, H91), 640 Terzetto (H158), 576, 613, 614, 618, 656, 660, 952, D93 Thaxted, see I Vow to Thee, My Country (H148) This Have I Done for my True Love (H128), 621, 631, 633, 644, D94 Three Carols (H133), 577, D95 Three Festival Choruses (H134), 600, D96 Three Folk Tunes (H106A), 600, 605 Three Hymns for the English Hymnal (H73), D97 Three Pieces (H8A), D98 Toccata (H153), D99 Tomorrow Shall Be My Dancing Day, see This Have I Done for my True Love (H128) “Truth of all Truth” (Eight Canons, H187), 199 “Turn Back O Man” (Three Festival Choruses, H134), 179, 621 Twelve Songs (H174), 471, 478, 620, 958, 959, D100 Twelve Welsh Folk Songs (H183), D101 Two Carols (H91), D102 Two Chants (H180), 960 Two Dances from Ianthe (H App. I, 42A), D103 Two Eastern Pictures (H112), D104 Two Pieces for Piano (H179), D105 Two Psalms (H117), 628, 644, D106 Two Songs without Words (H88), 177, 235, 429, 566, 586, 609, 610, D107 V Vision of Dame Christian, The (H101), 59, 275, 964–966 W Walt Whitman (H42), 486, 487, 651, 656, D108

Index of works Wandering Scholar, The (H176), 321, 323, 524, 545, 549–553, 557, 559, 561, 967–971, D108 Wassail Song (H182), 621, D110 “Welcome Song, A” (Two Carols, H91), 640 Wind Quintet (H11), 605, 972–973 Wind Quintet (H67), 605, 617, 656, 974–976, D111

247 Winter and the Birds (H App. I, 40), D112 Winter Idyll, A (H31), 656 Y “Ye Little Birds” (Five Partsongs, H61), 751 Youth’s Choice, The (H60), 543, 546

Name index Includes personal names of authors, editors, and subjects. References are to citation numbers. A A., T., 935 Abraham, Gerald, 427, 433, 438, 517 Adams, Byron, 486, 1037 Adams, Stephen, 338 Anderson, Julia S., 701 Anderson, W. R., 144, 1020 Andrews, Paul, 1039 Antcliffe, Herbert, 793, 829 Aprahamian, Felix, 722, 738 Arblaster, Anthony, 557 Armstrong, Thomas, 253 Artemas-Polak, Natalie, 558, 563, 718, 696 Aston, Peter, 210 B B., R., 145 Bach, Jay L., 888 Bacharach, A. L., 433 Bailey, David, 338 Bainton, Edgar L., 146 Baldwin, Lillian, 117 Banﬁeld, Stephen, 620, 650, 1007 Bantock, Granville, 17 Barlow, Harold, 566, 621 Barrett, Don, 978 Bartle, Ashworth, 937 Bartlett, Clifford, 999, 1008 Bartok, Bela, 507 Bashford, Rodney, 503 Bax, Arnold, 17, 263, 266, 388, 390, 407, 408, 411, 419 Bax, Clifford, 264–266 Beall, Mary Kay, 954 Beethoven, Ludwig, 64 Bell, George, 276 Bennett, A., 830 248

Bennett, Rodney, 147 Bhimani, Nazlin, 508 Bierley, Paul E., 583 Bintley, David, 993 Bishop, Jeffrey S., 692 Blezzard, Judith H., 720 Bliss, Arthur, 267, 302, 402, 408 Block, Adrienne Fried, 546 Block, Tomas, 543, 651, 1003 Blom, Eric, 98, 509, 652, 851 Blume, Friedrich, 102–103 Blyth, Alan, 554 Boghossian, Claire-Marie, 168 Bohle, Bruce, 110 Bonavia, Ferruccio, 544, 685, 909, 910 Bonnett, Irene, 372 Borders, James, 500 Borgen, Nathaniel John, 452 Borowski, Felix, 567, 590 Borthwick, M. C., 290 Bossert, Bill, 332 Boughton, Rutland, 482, 544 Boulestin, X. Marcel 403 Boult, Adrian 27, 51, 95, 260, 268–272, 700, 852, 946 Boyd, John, 587, 610 Boyer, D. Royce, 774, 790 Bragg, Melvyn, 981 Brahms, Johannes, 420 Braithwaite, Warwick, 821, 913 Branchini, Valentina, 87 Brandt, William E., 254 Brian, Havergal, 422, 439, 510, 653 Bridge, Frank 388, 407, 411, 471 Brightwell, L. R., 911 Britten, Benjamin, 168, 416, 540, 971 Broughton, Joseph Earl, 922 Bruneau, Alfred, 188

Name index Buckland, Jennifer A., 889 Burnett, Henry W., 173 Burnsworth, Charles C., 622 Burton, Anthony, 640 Burton-Page, Piers, 853 Butcher, A. V., 487 Butterworth, George, 286, 398 Byrd, William 16, 351 C C. (Morley College student), 261 Cahn, Peter, 1027 Callard, Dorothy, 357 Calvocoressi, M. -D., 822 Camner, James, 69 Cantrick, Robert, 761 Capell, Richard, 148, 235, 404–405, 537, 703, 775, 831–832, 854, 855, 921, Carter, Elliott, 254, 255 Cary, Mary Flagler, 36 Chatterton, Julia, 832 Chazin-Bennahum, Judith, 989 Chissell, Joan, 211, 318 Chujoy, Anatole, 990, 995 Chwialkowski, Jerzy, 568 Cipolla, Frank J., 579 Clardy, Mary Karen, 856 Clark, Gordon, 619 Clarke, Rebecca, 754 Coates, Albert, 149 Cobbe, Hugh, 24 Cobbett, Walter Wilson, 614 Coburn, Alvin Langdon, 87 Cofﬁn, Berton, 623 Cohen, Mrs., 35 Cohn, Arthur, 613 Cole, Hugo, 319 Colles, H. C., 99, 816 Collins, Chris, 406 Confalonieri, Giulio, 440 Cooley, Nancy, 441 Coop, Nora, 965 Copp, David, 894, 902 Corbett-Smith, Arthur, 817 Cossart, Ernest, see Holst, Emil von Couzens, Brian, 676 Couzens, Ralph, 676 Cox, David, 377

249 Cox, Peter, 204 Crichton, Ronald, 693 D Da Capo, 686 Da Silva, Elias Moreira, 791 Dahl, Ingolf, 769 Dahlhaus, Carl, 548 D’Amboise, Christopher, 992 Daniels, David, 569 D’Aranyi, Jelly, 705 Darke, Harold, 956 Darrell, R. D., 380 Daugherty, Leonard Valson, 646 Davidson, Gladys, 911 Davies, Gwendoline, 241 Davies, Margaret, 241 Day, Nora, 66, 850, 879 DeBekker, Leander Jan, 97 Delius, Frederick, 17, 176, 177, 182, 188, 377, 399–401, 409–410, 412, 415, 421–422, 486, 526–530, 534, 539–540, 544, 557, 781, 798, 881 Demarquez, Suzanne 188, 515, 857 Demorest, Steven M., 941 Demuth, Norman, 511 Dent, Edward J., 785 D’Erlanger, Frédéric, 482 DeSarno, Ruth Ethel, 606 Dibb, Jeremy, 339 Dickinson, A. E. F., 193, 442–443, 457, 776, 999, 1004 Diehl, Katharine Smith, 624 Dobbs, Jack, 204 Döhring, Sieghart, 548 Doran, Joseph L., 594 Drabble, Margaret, 477 Dubal, David, 842 Dunhill, Thomas, 281 Dvorák, Antonín, 790 E East, Leslie, 518 Eaton, Quaintance, 226, 545 Eder, Bruce, 134 Edwards, Paul, 1004 Edwards, Robert, 178 Eggar, Katherine E., 361

250 Ehrlich, Cyril, 381 Einstein, Alfred, 833 Elder, Mark, 316 Elgar, Edward, 176, 177, 182, 335–336, 377, 399–401, 409–410, 412, 415–417, 423–424, 485, 526–530, 534, 539–540, 575, 606, 683, 773, 798, 881, 907 Eliot, Margaret, 371 Elkin, Susan, 358 Ellis, Cynthia, 858 Erb, Jane, 141 Espina, Noni, 625 Evans, David R., 807 Evans, Edwin, 25, 27, 28, 98, 99, 147, 150, 258, 273, 329, 407, 408, 519–520, 614, 817, 834–835 Evans, Powys, 273 Ewen, David, 100–101, 118, 434, 818 F Fachiri, Adila, 705 Falla, Manuel de, 406 Fanselau, Rainer, 119 Fassett, Charles K., 629 Fennell, Frederick, 570, 741, 762, 929 Ferris, D’Arcy, 796 Fielden, Jan, 25 Finscher, Ludwig, 102 Finzi, Gerald, 240 Fletcher, Christopher, 198 Floros, Constantin, 859 Flothuis, Marius, 388 Foreman, Lewis, 27, 389 Foss, Hubert, 521–522 Foster, Arnold, 346, 362 Fox-Strangways, A. H., 726 France, John, 230, 955 Francke, Donald, 231 Frogley, Alain 1006, 1028 Frost, Maurice, 626 G Gál, Hans, 26 Gammon, Sheila, 571 Gammon, Vic, 571 Gann, Kyle, 860 Gardiner, Balfour, 266, 482 Garlock, Frank W., 792

Name index Garofalo, Robert, 740, 928, 930 Geehl, Henry, 274 German, Edward, 17 Gibbin, L. D., 196 Gibbs, Alan, 59, 193, 242, 257, 262, 333 Gilbert, Jay, 607, 677 Gilliland, Norman, 479 Goddard, Scott, 687, 777 Goldman, Edwin Franko, 57 Goldman, Richard Franko, 255, 272 Gooch, Bryan N. S., 475, 476 Goossens, Eugene, 70, 408, 411 Grace, Harvey 347, 458, 523, 680, 727, 728 Grainger, Percy, 472, 473, 506, 769 Gray, Cecil, 390, 428 Gray, Frances Ralph, 189, 275, 276 Grechesky, Robert, 610 Green, L. Dunton, 444, 813 Green, Michael, 531 Greene, Richard, 573, 711, 843, 963, 1005, 1006 Gregory, Robin, 649 Grew, Sydney, 277, 385, 489, 778 Griffel, Margaret Ross, 546 Grogan, Christopher, 203, 205, 209 Grout, Donald Jay, 547 Grover, Ralph Scott, 259 Grundman, Clare, 587, 610 Gurney, Ivor, 240, 943 Gwynne, Anna Nalini, 494 H H., C., 786 H., J., 1021 Hadley, Patrick, 482 Hall, Dale E., 278 Halsey, Simon, 480 Hamond, Elizabeth, 313 Handel, Georg Friedrich, 527, 875 Handley, Vernon, 323 Hanson-Dyer, Louise, 40, 55, 62 Hardwick, Peter, 466 Hardy, Thomas, 238, 479–484, 711–718 Harman, Alec, 435 Harpham, Dale, 610 Harrington, Paul, 496 Harris, Joan, 256 Hart, Fritz, 29, 278–279

Name index Hartman, James B., 334 Haskell, Arnold L., 19 Haydn, Joseph, 12, 23, 527 Head, Raymond, 490, 779, 861, 908, 975, 976, 1030 Headington, Christopher, 862 Heffer, Simon, 286 Hein, Hartmut, 729 Heldt, Guido, 102, 574 Herbert, Trevor, 571 Hesse, Lutz-Werner, 409 Heward, Leslie, 445 Heywood, Andrew, 497 Hibbs, Leonard, 672 Hickox, Richard, 95 Hill, Ralph, 446 Hindemith, Paul, 745, 769 Hindmarsh, Paul, 575 Hinson, Maurice, 615, 616 Hiscock, Terry, 120 Hoby, Charles, 595 Hogarth, Basil, 151, 152 Hogg, Simon, 339, 708 Hold, Trevor 627, 1040 Holder, Geoffrey, 985 Hollander, Hans, 1022 Holmes, John L., 95, 378 Holmes, Paul, 124 Holst, Adolph, 197, 396 Holst, Clara Lediard, 198 Holst, Edward von, 220, 221 Holst, Emil von [Ernest Cossart], 218, 332 Holst, Imogen, 6, 9, 11–15, 21, 23, 38, 39, 41–43, 47, 59–61, 64, 66, 88, 103, 104, 122, 125–127, 133, 138, 140, 153, 170, 180, 194, 195, 200–217, 231, 249, 252, 265, 279, 320, 322, 363, 369, 371, 384, 429, 463, 470, 518, 524, 540, 596, 605, 617, 657, 660, 673, 681, 905, 929, 971, 997–1002, 1010–1028 Holst, Isobel, 26, 64, 66, 199, 247, 462 Holst, Matthias R. 219 Holst, Matthias von, 53, 223 Holst, Theodor Richard Edward von 222 Holvik, Karl M., 597, 598 Honegger, Arthur, 875 Honig, Joel, 559 Hope, T. M., 252

251 Hopkin, John Arden, 923 Hopkins, Antony, 658 Hopkins, José, 250 Hopwood, Brian Keith, 608 Hopwood, Paul Andrew, 471 Hounsﬁeld, Vera, 42 Howard, Keith, 505 Howells, Herbert, 140, 231, 240, 280 Howes, Frank 190, 370, 436, 730, 863 Huckvale, David, 501 Hughes, Eric, 674 Hughes, Meirion, 690 Hull, Robert H., 525 Hull, Robin, 526, 1017 Hunsberger, Donald R., 579 Hunt, Ken, 491 Hurd, Michael, 548, 560, 1040 Hurd, Peter, 864 Hussey, Dyneley, 154, 191, 736 Hutchings, Arthur, 410, 654 Huw, Rhodri, 897 Hyde, D. E., 641, 936 I Imlah, Marjorie, 143 Ireland, John, 281, 388, 411, 484, 606 Isted, Lisa, 461 Isted, Ron, 895 J Jackson, Peter, 527 Jacob, Gordon, 386, 745 Jaffeé, Daniel, 675 Jameson, Michael, 865 Jean-Aubry, G., 128, 411 Jenkins, Martin David, 462 Johnson, Paul, 950 Johnson, Stephen, 866, 906 Jonsson, Leif, 1003 Joseph, Jane M., 10, 59, 257, 262, 340 Jost, Ekkehard, 847 Judge, Roy, 796 Jumeau-Lafond, Jean-David, 867 K Kaleva, Daniela, 62 Kalisch, Alfred, 836 Karolyi, Otto, 468

252 Kay, Brian, 306 Keats, John, 730 Kendall, Alan, 391, 393 Kennedy, Michael, 105, 271, 393, 412, 429, 485, 528–530, 576, 1023 Kennicott, Philip, 868 Kenyon, Nicholas, 227 Kidson, Erica, 447 Kinnear, Laura, 198 Kish, David L., 598 Kitching, Richard, 531 Klingenberg, Gottlieb, 172 Kobbé, Gustav, 909, 910 Kovalenko, Susan Chafﬁns, 810 Kramer, Lawrence, 486 Kreutzberg, Harald, 985, 987–988 Krone, Max, 609, 647 Kuhn, Laura, 108, 655 Kuykendall, James Brooks, 417 L Lace, Ian, 44 Lambert, Herbert, 40, 69, 70, 80, 113, 121, 277, 834, 848 Lambourn, David, 425 Landvatter, Scott Alan, 924 Langﬁtt, Nathan A., 742 Lascelles, George Henry Hubert, 909, 910 Lasker, Vally, 54, 262, 840, 850, 879 Laster, James, 628 Latham, Alison, 105 Lautzenheiser, Tim, 748 Lavallade, Carmen de, 986 Layton, Robert, 469 Leach, Gerald, 106 Leask, Margaret, 642 Lee, Douglas A., 844 Leelasiri, Kanokrut, 890 L’Epine, Geoffrey, 115 Ley, H. G., 399 Leyshon, Andrew, 225 Limbert, K. E., 663 Lisle, Nicola, 307 Livingston, Carolyn, 702 Lloyd Webber, Julian, 301 Lloyd, Stephen, 1042 Locke, Arthur Ware, 629 Loewenberg, Alfred, 549

Name index Logan, Russell Mahlon, 506 Long, Kenneth R., 630 Long, Odean, 475, 476 Lubovitch, Lar, 979 Lucas, Roger, 282 Lumby, Sheila, 42 Lunn, John E., 71 Lycan, Mary, 643 M Macan, Edward L., 453, 456, 459, 502 MacDonald, Malcolm, 510, 653 Mackenzie, Compton, 532 Macleod, Joseph Todd Gordon, 705 Maddison, Lowinger, 122 Maine, Basil, 156 Maine, Basil, 183 Manchester, P. W., 990, 995 Mann, William, 321–322 Manning, David, 112, 175, 288 Manning, Lucy, 577 Manning, Rosemary, 631 Marcinyak, Francis, 610 Mark, Jeffrey, 430 Markel, Robert, 617 Markham, Richard, 865 Marks, L. C., 308 Martens, Frederick Herman, 678 Martin, T. L., 697 Matless, David, 225 Matthews, Colin, 39, 107, 122, 480, 550, 605, 659, 868, 899, 905, 907, 1007 Maxwell Davies, Peter, 907 Mayne, Christian, 169 McCabe, John, 606 McCoy, Guy, 72 McEwen, John, 17 McFarlaine, Iain, 201 McGraw, Cameron, 223 McIntire, Dennis, 108 McNaught, William, 704, 737 McVeagh, Diana M., 122 Mellers, Wilfrid, 392, 413–414, 435, 465, 499, 1024 Melton, William, 504 Mendl, R. W. S., 512, 533, 534 Messiaen, Olivier, 168 Metcalfe, W., 1043

Name index Milner, Anthony, 435 Minnion, John, 121 Mitchell, Alastair, 657 Mitchell, Donald, 664 Mitchell, Jon C., 129, 212, 578–579, 591, 599–601, 609, 699, 709, 763, 764, 800, 806, 814, 931, 1029–1032 Montgomery, John Murray, 454 Moore, George, 960 Moore, Jerrold Northrop, 73, 393 Mordden, Ethan, 551, 580 Morgenstern, Sam, 566, 621 Morris, R. O., 870 Morris, William, 495, 497, 503, 951 Motion, Andrew, 437 Mozart, Wolfgang Amadeus, 168 Mueller, John William, 963 Mulcahy, Michael, 870 Mullenger, Len, 871 Mundy, Simon, 272 Munns, Bernard, 81, 339, 742 N Nelson, Catherine, 901 Nettle, David, 865 Neve, William, 174 Newman, Ernest, 682, 722, 738 Newman, Marilyn Stephanie Mercedes, 632 Newmarch, Rosa, 845, 944 Newsome, Roy, 799 Nicholls, Heller, 236 Nicholson, Paul, 957 Norris, Christopher, 501 Norris, Gerald, 224 Northcott, Bayan, 157 Northcroft, G. J. H., 173 Northouse, Cameron, 552 Nutting, Dulcie, 282 O Oakley, Harry Lawrence, 82 O’Connell, Charles, 846 Oldland, Marie, 564 Oliver, Stanley, 724 Olivero Ferrero, Gabriela, 940 O’Neale, David, 719 Ostling, Acton Eric, 607, 610

253 Ottaway, Hugh, 206, 561, 1000, 1034 Oxbury, Harold, 123 P Palmer, Larry, 280 Parker, D. C., 158 Parrott, Ian, 914, 1012 Parry, Hubert 4, 417 Parsons, Charles H., 553 Partridge, F. L., 965 Patterson, Annie, 159 Payne, Anthony, 415, 768, 907 Pears, Peter, 971 Pearson, Dorothy K., 160 Peart, Donald R., 498 Percival, John, 991 Perry-Bowser, Libbie E., 602 Persichetti, Vincent, 746 Peterson, Donald Leslie, 611 Petit, Stephen J., 118 Phillippe, Roy, 604 Pinson, Donald Lynn, 710 Pirie, Peter J., 394, 766 Pittman, Daniel, 472 Pitts, Larry Guinn, 473 Plummer, Peter, 481 Poduska, Donald M., 478 Porte, John F., 161 Potter, Mary, 207 Poulton, Alan J., 656 Pound, Jeremy, 240, 872 Powell, Sean R., 603 Previn, Andre, 95 Price, Bernard, 238 Probert-Jones, W., 376 Prunières, Henry, 717 Purcell, Henry, 13, 379, 382, 466, 527 Putterill, Jack, 364 Q Quilter, Roger, 411 R Rabson, Carolyn, 581 Race, Steve, 694 Raeburn, Michael, 393 Rafael, Nan, 766 Ramsey, Kristi L., 949

254 Randall, Mac, 604 Rangel-Ribeiro, Victor, 617 Rapp, Willis M., 582 Rasmussen, Richard Michael, 666 Rathke, Donna Rager, 973 Rawlinson, Harold, 947 Raynor, Henry, 513, 535, 665 Reck, David R., 492 Reed, E. M. G., 373 Rees, John Aldon, 455 Rehrig, William H., 583 Renouf, D. F., 484 Respighi, Ottorino, 767 Reuling, Karl, 562 Revill, George, 225 Reynish, Timothy, 605 Reynolds, Gordon, 341 Reynolds, H. Robert, 748 Richards, Denis, 359 Richards, Jeffrey, 395 Ridley, E. A. K., 364 Rimicci, Steven M., 467 Roberts, Wesley, 616 Rose, Michael, 477 Rossella, Daniela, 940 Rossetti, Christina, 954, 956 Rothenstein, William, 37, 74, 83, 85, 86, 387 Rothschild, Thomas, 847 Routley, Erik, 633, 644 Rubbra, Edmund, 63, 75, 130, 133, 140, 258–261, 323, 326, 330, 338, 342–344, 413, 448–449, 609, 620, 724, 780, 970 Russell, Ken, 980, 982, 983 Rutland, John Paul, 754 S Sadie, Julie Anne, 309 Sadie, Stanley, 104 Salazar, Adolfo, 585 Saltonstall, Cecilia Drinker, 586 Saltonstall, Henry, 586 Sanders, Alan, 873 Sanders, Julie, 683 Sarcich, Paul, 331 Saremba, Meinhard, 131 Sasnett, Kathleen, 805 Savage, Roger, 815

Name index Scheer, Christopher, 170 Schenker, Heinrich, 465 Schock, Elmer, 645 Schoenberg, Arnold, 425, 426, 769, 878 Scholes, Percy, 396, 887 Schulz, Thomas, 1044 Schweitzer, Vivien, 874 Scott, Marion, 327 Scriabin, Alexander, 427 Searle, Arthur, 64, 65 Searle, Humphrey, 469 Secrist-Schmedes, Barbera, 618 Seldenslagh, C., 162 Senghaas, Dieter, 875 Serbin, Max, 787 Sforzando, 688 Shakespeare, William, 485, 564, 815 Sharp, Cecil, 468, 470, 805, 931 Sharp, Chris, 416 Sharp, G. B., 450 Sheldon, A. J., 876 Sheppard, Cynthia C., 811 Sherman, Elna, 483, 712 Shore, Bernard, 175, 283, 284, 848 Short, Michael, 22, 43, 45, 132, 451, 876, 998, 1000–1002, 1031, 1035–1044 Shrock, Dennis, 634 Sibelius, Jean, 461 Simeone, Nigel, 272 Singer, Werner, 623 Sink, Charles A., 57 Skempton, Howard, 805 Slonimsky, Nicolas, 108 Smith, Allison Renee, 648 Smith, David Kenneth, 944 Smith, Madeleine, 935 Smyth, Ethel, 544 Somerville, J. A. C., 578 Sommerich, Philip, 676 Sorabji, Kaikhosru, 192, 508 Souper, F. O., 365 Spearing, Robert, 493 Spratley, Philip, 878 Stanford, Charles Villiers, 172, 279 Steane J., 554 Stevens, Richard John Samuel, 915 Stevenson, Victor, 397 Stock, Frederick, 57

Name index Stoffel, Lawrence, 677 Stones, Anthony, 311, 313 Stradling, Robert, 225, 690 Stravinsky, Igor, 168, 435, 507, 694 Strode, Nancy, 374 Strode, Rosamund, 205, 207, 210, 213 Stuart, Charles, 366 Suk, Richard Eugene, 612 Sullivan, Arthur, 417 Sullivan, Jack, 488 Summers, W. Franklin, 555 Swann, D. T., 418 Swann, Furse, 480 Swann, Irene, 375, 965 Swanson, Christopher, 971 Sweete, Barbara Willis, 979 Szymanowski, Karol, 168 T Tarwater, William, 745 Tawney, C. H., 21 Taylor, George M., 507 Taylor, Kenric, 44 Taylor, Stainton, 424 Teasdale, May Silva, 679 Thatcher, David S., 475, 476 Thompson, Herbert, 573 Thompson, Kenneth, 20, 109 Thompson, Oscar, 110, 819 Thomson, J. M., 214 Tinker, Christopher, 205, 215, 217 Tippett, Michael, 140, 285, 413 Tomita, Isao, 978 Tortolano, William, 635 Toskey, Burnett R., 588 Tovey, Donald, 757, 759, 771, 820, 837 Town, Stephen, 1043 Toye, Francis, 419 Trelawny, Petroc, 371 Trend, J. B., 915 Trend, Michael, 398 Trippett, David, 163 Tudor, Antony, 985, 988–992 Turner, Malcolm, 65 Turner, Walter J, 739, 838 Tyranny, “Blue” G., 984

255 U Udell, Budd, 743 Ulrich, Homer, 636 Unger-Hamilton, Clive, 397 Upton, George, 567, 589, 590 V Van Dieren, Bernard, 537 Vaughan, David, 992 Vaughan Williams, Ralph, 17, 23, 24, 26, 30, 51, 64, 65, 71, 73, 88, 109, 112, 117, 120, 125, 129, 147, 168, 175, 179, 240, 241, 281, 286–289, 294–296, 297, 325, 328, 331, 332, 367–368, 371, 387, 390, 393, 394, 397, 407, 412, 415–417, 428–432, 453, 459, 461, 466, 468, 470, 472, 473, 482, 484, 486, 496, 498, 502, 506, 538, 539, 544, 557, 562, 576, 630, 644, 650, 683, 698, 702, 720, 721, 745, 754, 808, 814, 815, 907, 923, 927 Vaughan Williams, Ursula, 6, 11–15, 23, 71, 216, 289 Vinton, John, 114 Votta, Michael, 591 Vowles, William, 244 W Wade, Martyn, 996 Wagner, Richard, 170, 426, 493, 504 Wakin, Daniel J., 903 Walker, Ernest, 460 Walker, Malcolm, 554 Walsh, Stephen, 788, 839 Walter, Erich, 994 Walton, William, 417 Warburton, A. O., 904 Ward, David, 310 Warrack, John, 113, 164, 464, 539–540, 556, 1001, 1009, 1025 Wasson, D. DeWitt, 637 Waters, Richard, 956 Watson, Lyle, 155 Weelkes, Thomas, 6, 16, 181, 351 Weidensaul, Jane B., 701 Weiner, Joyce, 532 Weissmann, John S., 114 Wesley, Samuel, 14, 23

256 West, Ewan, 556 Western, Joan D. L., 299 Westrup, J. A., 1002 White, R. T., 824 Whitman, Walt, 486–488 Whittaker, W. G., 22, 26, 31, 32, 165, 167, 290, 345 Whittall, Arnold, 426 Wiles, Edward H., 789 Wilkinson, Frederick, 231, 291 Willetts, P. J., 66 Williams, Hermine Weigel, 547 Williams, Michael D., 592 Wilson, George Buckley Laird, 985 Wimbush, Roger, 966 Windram, James Causley, 699 Wittmann, Michael, 1032 Witts, Richard, 907 Wolfe, Humbert, 958, 959 Wolverton, Vance D., 942 Wood, Henry J., 292, 377

Name index Wood, Ralph W., 541 Woodforde, Millicent, 84, 104, 391, 393, 518, 774 Wortham, H. E., 166, 773 Wright, Denis, 587 Wright, M. Searle, 332 W-Y, W., 167 Wyatt, Larry, 957 Wyndham, Henry Saxe, 115 Y York, Fiona, 879 York, John, 879 Young, Eileen Marie, 769 Young, Francis Brett, 689 Young, Percy, 116, 431, 432, 772 Z Zappa, Frank, 500 Zembower, Christian, 767

Keyword index References are to citation numbers. A advertisements, 901 America, 77, 129, 226 anniversaries, 317–332 archives and special collections, 28–37, 46–58, 593, 689, 691, 960 B band music, 565, 570–572, 575, 578–579, 582–584, 587, 591, 594, 595, 597–612 Barnes, 228–231 bibliography, 43–45 biographies (extensive), 102–104, 107, 111, 124–132, 148, 163 bitonality, 456, 459, 914 birthplace, 232; see also Holst Birthplace Museum Bodleian Library, 50 book reviews, 997–1044 British Institute of Recorded Sound, 88 British Library, 30, 51, 64, 65, 88 British Museum, 66 Britten-Pears Foundation, 48 C career: composer, 381–387; conductor, 377–380; organist, 333–334; teacher, 340–376; trombonist, 335–339 caricatures and cartoons, 77, 120 catalogues, 40–45 census records, 171 centenary, 317–323, 330, 332 chamber and instrumental music, 613–619 Cheltenham, 171, 232–236 childhood, 173, 174 choral music, 622, 528, 629, 631, 634, 636, 640, 643, 645–647 City of Westminster Archives Center, 28 collected edition, 39

comparison with other composers: Bax, 419; Brahms, 420; Delius, 421, 422; Elgar, 423, 424; Schoenberg, 425, 426; Scriabin, 427; Vaughan Williams, 428–432 compositional style and process, 63, 433–455, 559, 620 concertos, 576, 588 copyright, 17 correspondence, 3, 22–37 Cotswolds, 327, 337 Cranham, 237 D dance, 985–995 death and burial, 175–182 diaries, 38 discography, 667–669, 672, 674, 675, 677 dissertations and theses, 45, 168–170, 217, 417, 418, 452–455, 461, 462, 466, 467, 471–473, 484, 494, 505–507, 563, 564, 606, 607–612, 646–648, 709, 718, 719, 745, 754, 769, 790–792, 810, 811, 888–890, 922–924, 949, 962, 971, 973 documents, 38, 113, 168, 171 drama, 996 dramatic works, 542–564 E Egdon Heath, 238, 479, 480 England, 224, 225, 389, 396, 405, 656 English musical renaissance, 388, 392, 393–395, 398, 402, 414, 415, 418 F family, 150, 197–223 ﬁlm and video, 88, 133, 138, 140, 143, 335, 748, 894–900, 977–980 ﬁlm music, 501, 689, 690, 874 257

258 friendships, 262–292 genre studies, 542–648 G George Eastman House, 87 Glasgow University Library, 31, 32 Gloucestershire, 239, 240 Gregynog, 241, 242 H harmony, 456–462 Harvard University, 37, 52, 254, 255 Holst Archive, 47 Holst Birthplace Museum, 38, 46, 85, 86, 143, 302–310, 338 Holst Festival (Cheltenham, 1927), 234–236 Holst Memorial Fountain (Cheltenham), 311–316 hymn-tunes, 624, 626, 637, 639, 953–957 I iconography, 38, 67–74 image collections, 67–87 imperialism, 395, 494 inﬂuence: astrology, 463, 493, 862, 877, 878; early English music, 464, 465–467; folk song, 404, 464, 468–473; India, 490, 491, 494, literature, 474–488; orientalism, 489–494; religion, 493; Sanskrit, 155, 463, 493, 915, 940; socialism, 495–498, 950 J James Allen Girls’ School, 355–357 jazz, 694 L lectures, 2, 11–16, 348–354 literary sources, 169, 434, 474–488 M manuscripts, 49–66, 798, 800, 807, 908 memorials, 293–316 modes, 457 Morley College, 3, 261, 359–368; music room, 293–298, 366

Keywor d index N National Library of Australia, 29 National Portrait Gallery, 68 Northwestern University, 34 O obituaries, 184–192 operas, 542–564; plot synopses, 545, 548, 678, 679, 817–819, 823, 910, 911 orchestral excerpts, 581 orchestral works, 565–569, 573, 574, 577, 580, 586, 589, 596, 605 orchestration, 503–507 ostinato, 456, 462 P Philharmonic Choir, 18 piano music, 615, 616, 619 Pierpont Morgan Library (Mary Flagler Cary Music Collection), 36 popular music, 492, 500, 502 press cuttings, 42 program and descriptive notes, 117, 118, 567, 589, 590, 845, 944 projected works, 649 Q quotations, 94, 95 R recordings, 666–677, 853, 865, 866, 873 related works, 977–996 reminiscences, 147, 343, 361, 374, 375 reputation, 146, 508–541 Royal Academy of Music, 53 Royal College of Music, 4, 54, 259, 369, 370 Royal Northern College of Music, 35 S sacred music, 628, 630, 633, 644, 648 Salonica, 3, 5, 243, 244 scores (online), 90–93, 746, 747, 755, 756, 840, 891–893, 932, 933, 939, 951, 952 songs, 623, 625, 627, 632, 635, 638, 641, 648 St. Paul’s Girls’ School, 59, 256, 371–375, 879, 945; music wing, 300

Keyword index

259

State Library of Victoria, 55, 62 students, 10, 253–261, 340, 342, 343

University of Michigan, 57 University of Reading, 75, 76, 248, 376

T teachers, 172 text-setting, 460, 499 Thaxted, 245–252 tributes, 328–332 trombone, 335–339 Tudor composers, 6, 16

V views on: artists in society, 7; inspiration, 9; music appreciation, 8

U United States, see America University of Bristol, 56

Y Yale University, 58, 227 YMCA service, 3, 5, 244

W Whitsuntide Festivals, 251–252, 362, 364 writings, 1–21

Gustav Holst: A Research and Information Guide (Routledge Music Bibliographies)

Béla Bartók: A Research and Information Guide (Routledge Music Bibliographies)

Béla Bartók: A Research and Information Guide (Routledge Music Bibliographies)

The Concerto: A Research and Information Guide (Routledge Music Bibliographies)

The Musical: A Research and Information Guide (Routledge Music Bibliographies)

Oliver Messiaen: A Research and Information Guide: A Research and Information Guide (Routledge Music Bibliographies)

Ethnomusicology: A Research and Information Guide (Routledge Musical Bibliographies)

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