This masterful collection of choral hymns, inspired by ancient Hindu texts, showcases the genius of Gustav Holst. Featuring his signature blend of orchestral and choral elements, these pieces are a testament to the enduring power of Holst's vision and the beauty of the Rig Veda itself.
Gustav Holst (1874-1934) began composition of A Fugal Overture in 1922, completing the full score in January 1923. Despite its name, the overture is not strictly fugal. It belongs to the era of neo-classicism, but apparently by coincidence, for Holst had not yet heard some of the Stravinsky and Hindemith works that set this fashion. The fugal subject is full of spiky cross-rhythms. Holst grouped the eighth notes of his 4/4 into a pattern of 3+3+2, thus giving a bar of three unequal beats, creating an intense and exciting work. This piece premiered on May 14th, 1923, in London by the British National Opera Company, with Eugene Goossens conducting. 2+1.2+1.2+Bcl.2+1: 4.3.3.1: Timp. Perc(2): Str (9-8-7-6-5 in set). This work may also be performed with Piccolo, 1 Flute, 1 Oboe, English Horn, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, 2 Trombones (I and III), and strings. (5:00)
Written in 1916 for the Japanese dancer Michio Ito, this suite features melodies provided by Ito, except for the "Marionette Dance." Holst likely conducted the premiere at London's Coliseum Theatre that same year. The first confirmed performance occurred in 1919 at Queen's Hall with the New Queen's Hall Orchestra. The suite was officially published in 1925 by Hawkes and Son, showcasing Holst's unique blend of Western orchestration with Japanese musical influences.
Set in a vibrant musical landscape, the narrative explores the intricate dynamics of an orchestra, delving into the lives of its diverse members. Each character brings unique backgrounds and personal struggles, highlighting themes of collaboration, ambition, and the pursuit of artistic excellence. As they navigate the challenges of rehearsals and performances, the story reveals the power of music to unite and transform, ultimately showcasing the beauty of human connection through the universal language of sound.
Vocal score
Holst's Ode to Death, composed in 1919, serves as a poignant tribute to friends lost in World War I. The work draws on Walt Whitman's poetry, particularly the final section of "When Lilacs Last in the Dooryard Bloom'd," and features open chords that evoke a sense of infinite space. This haunting choral piece is presented in a newly engraved vocal score by Richard W. Sargeant, Jr., with large scores and orchestral parts also available from Serenissima, enhancing its accessibility for performers.
Study score
The suite, composed in 1912, reflects Holst's gratitude for a sound-proof teaching studio at St. Paul's Girls' School, where he served as music director for three decades. It consists of four movements and was premiered by the school orchestra under Holst's direction in 1913. This work embodies his innovative spirit and connection to the school, showcasing his commitment to music education and his creative process during that period.
Composed for the BBC and the National Brass Band Festival in 1928, this work reflects Holst's enthusiasm for brass music, as he attended all 15 performances at the National Brass Band Championships. The Black Dyke Mills Band, led by William Halliwell, emerged victorious. This piece marks Holst's sole contribution to brass band repertoire, and its rapid popularity paved the way for future commissions in this genre, highlighting its significance in both his career and brass music history.
Composed in 1923 in the USA the University of Michigan Library, Holst's eight-minute gem for solo flute, oboe and strings was given its first performance at the President's residence of the university by members of the Chicago Symphony under the baton of Frederick Stock on May 17 of that year. First publication followed soon afterwards by Novello in London. Offered here is a study score for the newly engraved critical edition based upon the composer's manuscript and first edition prepared by Richard W. Sargeant Jr. The large conductor's score and orchestra parts are likewise available from Serenissima Music, inc.
Gustav Holst's 'Choral Fantasy on Old Carols' was composed in 1910, just two years before the similar work, Fantasia on Christmas Carols , by his good friend Ralph Vaughan Williams made its debut. It seems to have been composed for a Christmas concert given in London by Morley College, where the premiere likely took place. The carols employed - Good Christian Men Rejoice, God Rest You Merry Gentlemen, Come Ye Lofty, Come Ye Lowly , and The First Nowell - include a couple also found in the Vaughan Williams work. This newly engraved and researched vocal score by Richard W. Sargeant Jr. is based upon the composer's manuscript and the first edition vocal score and orchestral parts issued by Novello in the same year it was written. Holst's fantasy is shorter by about 5 minutes than the Vaughan Williams and offers a different view of the familiar tunes. Printed in a very readable large size with a chorus' needs in mind, this new definitive vocal score will be a welcome addition to choral libraries everywhere. The full conductor's score and orchestral parts are also available from Serenissima Music.
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