The Reception of the Music of Gustav Holst In Australia 1900 - 1950 by Christopher Allen Alomes BMus (Hons) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Tasmanian College of the Arts – Conservatorium of Music University of Tasmania October 2015 Declaration of Originality I declare that this exegesis contains no material that has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the exegesis. I have read the University statement on Academic misconduct (Plagiarism) on the University website at www.utas.edu.au/plagiarism and to the best of my knowledge and belief the exegesis contains no material previously published or written by another person except where due acknowledgement is made in the text, nor does the exegesis contain any material that infringes copyright. Statement of Authority of Access This thesis may be made available for loan and limited copying in accordance with the Copyright Act 1968. Name: Christopher Allen Alomes Signed: Date: October 28, 2015 ABSTRACT The contribution of Gustav Holst to the establishment of a distinctive British voice in the European compositional tradition has been historically undervalued and generally focused on just a handful of works, particularly his suite for orchestra, The Planets. Yet Holst’s individual style and contribution in Britain and beyond must be re-evaluated to provide a fuller picture of British music and its influence in the first half of the twentieth century. Much of what was written about Holst in his own era reflected the concerns of British nationalism at the time and the prominence of other figures such as Ralph Vaughan Williams. Recent scholarship has been attempting to redress the balance and this research constitutes a contribution to the efforts to re-evaluate the contribution of Holst, the originality of his music and his legacy. The historiography surrounding Holst has been examined and analysed to establish the prevailing attitudes and opinions of his work in Britain in this period and how these were propagated. The thesis then compares the objective reception history of Holst’s compositions in Britain and in the far-flung outpost of Australia. Such a comparison throws significant light on British influences on Australian musical culture in the first half of the twentieth century and identifies key figures and institutions in the transmission of British music to the Australian public and its reception. Many were long-standing friends and colleagues of Holst or had been involved in performances of his work in Britain. This thesis explores the reception of the music of Gustav Holst by the generally conservative Australian musical public in the first half of the twentieth century and argues that the reception of Holst’s music in Australia was resoundingly successful. Such was the praise that musicians, audiences, and critics alike heaped on his music that it is surprising that there were not more performances given. The Australian music scene has been shown through this study of the reception of Holst to have been far more open to ‘modern’ music than was expected. In doing so it arrives at a new narrative that reassesses not only the influential contribution of the composer, providing evidential balance to the historically one-sided account, but also expounds the pivotal role played by champions in the Australian music scene in the broadening of musical taste. The research has also highlighted the difficulties faced by many contemporary British composers, not only in Australia, but also in their native England to have their music performed and for it to find a permanent place in the repertory. ACKNOWLEDGEMENTS I would like to acknowledge the efforts of my supervisors Anne-Marie Forbes and Heather Monkhouse for their patience, guidance, flexibility, and good humour during the last few years. Without their support, this would not have been possible. A big thank you those who have put up with me during the writing of this thesis – Mara, Will, Chris, and Alexandra. A special thanks to Allyce for her support, and for helping to keep me sane through challenging times. To my family – brothers Jon and Thomas, Dad, and my Grandma and Grandad – your love and support has been the reason I’ve been able to do what I’ve been doing leading up to and through this undertaking Above all, I would like to thank my mother, Anna, for being my primary inspiration as an academic and a human being. Without the 28 years of hard work you have put in, I wouldn’t be the person I am today. LIST OF FIGURES Page Figure 3.1: The Tune From “Jupiter” Used In I Vow to Thee, My Country………………….89 Figure 3.2: Australian Performances Of The Planets Suite…………………………………99 Figure 3.3: The Representation Of Holst’s Planets In The Sydney Morning Herald...…….107 Figure 5.1: Australian Performances Of The Hymn Of Jesus………………………………151 Figure 6.1: Australian Performances Of The Four Songs For Voice And Violin…………..168 Figure 7.1: The Interweaving Of ‘Dagason’ And ‘Greensleeves’ In St. Paul’s Suite……...189 Figure 7.2: Australian Performances Of St. Paul’s Suite…………………………………...191 Figure 8.1: Australian Performances Of Holst’s Miscellaneous Orchestral Works………...219 Figure 9.1: Australian Performances Of Songs From The Princess………………………..246 Figure 9.2: Australian Performances Of The Seven Part-Songs Op. 44 …………………...251 Figure 9.3: Australian Performances Of The Six Choral Folk-Songs Op. 36………………256 Figure 9.4: Australian Performances Of The Six Baritone Songs Op. 15…………………..260 Figure 9.5: Australian Performances Of The Heart Worships……………………………...261 Figure 9.6: Australian Performances Of In The Bleak Mid Winter…………………………263 Figure 9.7: Australian Performances Of Hymns From The Rig Veda Op. 24 And Choral Hymns From The Rig Veda…………………………………………………………………266 Figure 9.8: An Example Of Holst’s Use Of Choral Polyphony In “A Funeral Hymn”…….268 Figure 9.9: Australian Performances Of Three Festival Choruses………………………….269 Figure 9.10: Australian Performances Of Twelve Songs Op. 48………………………….. 271 Figure 9.11: Australian Performances Of Holst’s Two Psalms…………………………….272 Figure 9.12: Australian Performances Of A Dirge For Two Veterans……………………...281 Figure 9.13: Australian Performances Of Holst’s Two Motets For Unaccompanied Chorus………………………………………………………………………………………286 Figure 9.14: Australian Performances Of Two Eastern Pictures…………………………...290 Figure 9.15: Australian Performances Of Miscellaneous Other Works…………………….293 Figure 10.1: Primary Orchestral Conductors And Organizers For Holst Performances In Australia…………………………………………………………………………………….302 Figure 10.2: Comparison Of Total Performances Of Given Works To Those Given By Musicians In Figure 10.1……………………………………………………………………303 Figure 10.3: Conductors And Ensemble Directors’ Performances Of Holst’s Choral Music………………………………………………………………………………………..308 Table Of Contents Page Abstract………………………………………………………………………………………...i Acknowledgments......………………………………………………………….……………..iii List Of Figures……………………………………………………………………………...iv Preface ...................................…………………………………………………………………1 Chapter 1 - Literature Review…………………………………………………………………4 Chapter 2 - Holst In Britain…………………………………………………………………. 20 Chapter 3 - The Planets……………………………………………………………………... 85 Chapter 4 - The Operas……………………………………………………………………..117 Chapter 5 - The Hymn Of Jesus……………………………………………………………..141 Chapter 6 - Four Songs For Voice And Violin……………………………………………. 165 Chapter 7 - St Paul’s Suite………………………………………………………………….189 Chapter 8 - Other Orchestral Works………………………………………………………...218 Chapter 9 - Vocal And Choral Works………………………………………………………245 Chapter 10 - The Champions……………………………………………………………….301 Conclusion ............................................................................................................................ 316 Appendix……………………………………………………………………………………322 Bibliography………………………………………………………………………………...323 1 Preface The aim of this research has been to make some modest inroads into understanding the way that the music of English composer Gustav Holst (1874-1934) was received and propagated by the Australian musical community of performers and patrons. Such research contributes to the broader body of knowledge about major influences on the development of Australian classical music and post-colonial cultural capital. The period under consideration is 1900- 1950, chosen because it encapsulated Holst’s entire creative life after leaving the Royal College of Music where he trained, and the consequent reception of his music for a period after his death. The springboard to enable an understanding of the Australian reception was an analysis of reviews and other media from the period. While Gustav Holst was generally considered a major figure of British composition in the first half of the twentieth century, he was at the same time overshadowed by some of his peers who outlived him and produced a larger body of work, and the writing of British musical history has tended to underrate his significance. Seeking to explain this duality, current scholarship on Holst was examined starting from modern secondary sources and progressing through to the evidence contained in primary sources. While these will be previewed in the opening chapter, it will be useful to flag for the reader the unfolding context and one of the glaring contradictions when considering this important body of work. This thesis has aimed to build a comprehensive picture of Holst’s musical performances in Australia and the reception of these works by critics and the musical public. In order to 2 contextualise this information a profile of Holst’s reception at home in Britain prepared from secondary sources is provided to serve as a comparison. This counterpoint will also serve the Australian picture that emerges, by providing direct links with what was happening with Holst’s music in Britain during the given timeframe.1 The historiographical portrait of Holst’s reception on the musical scene in Australia was non-existent. The chosen pathway to detect the missing pieces was to first track down the critics’ reviews of Australian performances of Holst works and use these eyewitness accounts from print media of the day as a starting point to carefully piece together the circumstances that coalesced to make these performances possible. With the additional research layers comprising private letters, public talks and the interesting recurrence of a mere handful of names as the catalyst for the appearance of Holst scores and subsequent interpretations, an unusual picture began to appear which contracted the prevalent view which persists in the literature of twentieth-century British music. The analysis of the collected evidence revealed Holst as the forgotten man of British musical history. The research of other Holst scholars has been outlined in the following chapters, along with a brief review of seminal works and how they have contributed to what may be referred to as the “traditionally accepted view” of Gustav Holst – the starting point for exploring the forgotten man perspective. From this it has been argued that evident gaps ought to be addressed in order to provide a more comprehensive account than that which currently 1 The British comparison contains a useful number of reviews and articles (primarily contained Chapter 3), however the majority of these accounts comprise reporting from the major London papers and journals. The vast majority of the public would have come across discussion of Holst’s performances from critical reviews. This snapshot of British reviews while limited, will serve as a useful comparative study against the more comprehensive Australian picture. To seek out and analyze every review for all works by Holst performed in Britain during the timespan under investigation was well beyond the scope of this thesis.