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Liña 247:
| datadenacemento = [[12 de abril]] de [[1907]]
| lugardenacemento = [[Richmond, Londres|Richmond]], [[Surrey]] ([[Inglaterra]]<br>{{GBR}}
| datadefalecemento = [[59 de decembromarzo]] de [[17911984]] <small>(35 anos)</small> <ref name=biomozar/>{{idade|12|04|1907|09|03|1984}}
| lugardefalecemento = [[Aldeburgh]], [[Suffolk]] ([[Inglaterra]]<br>{{GBR}}
| instrumento = [[Piano]]
| alcume =
| web = [http://www.imogenholst.org imogenholst.org]
| composicióndestacada =
| premios = [[Orde do Imperio Británico|CBE]]<br>Membro honorífico da [[Royal Academy of Music]]
| premios =
| parella =
| fillos =
Liña 259:
|sinatura =
}}
'''Imogen Clare Holst''' [[CommanderOrde ofdo theImperio OrderBritánico|CBE]], ofnada theo British[[12 Empirede abril]] de [[1907]] en [[Richmond, Londres|CBERichmond]], [[Surrey]] (12[[Reino AprilUnido]]) 1907&nbsp;–e finada o [[9 Marchde marzo]] de [[1984)]] wasen an[[Aldeburgh]], English[[Suffolk]] composer([[Reino Unido]], arrangerfoi unha compositora, conductorarranxista, teacherdirectora andde festivalorquestra, administrator.profesora Thee onlyadministradora childde offestivais thebritánica. composerÚnica filla do compositor británico [[Gustav Holst]], sheé isespecialmente particularlycoñecida knownpolo forseu hertraballo educationaleducativo work atno [[Dartington Hall]] na indécada thede 1940s1940, ande forpolos herseus 20 yearsanos ascomo jointdirectora artisticartística directoradxunta of thedo [[Festival de Aldeburgh Festival]]. In additionAmais tode composingcompoñer musicmúsica, sheescribiu biografías wrotede composer biographiescompositores, muchelaborou educationalnumeroso material didáctico, ande varios severallibros bookssobre ona thevida lifee anda worksobra ofde herseu fatherpai.
 
FromDende a youngmoi agenova, Imogen Holst showedmostrou precociousun talenttalento inprecoz composingna andcomposición performancee a interpretación. AfterLogo de asistir attendingá [[Eothen School]] ande á [[St Paul's Girls' School]], she enteredingresou theno [[Royal College of Music]], whereonde shedesenvolveu developedas hersúas skillshabilidades ascomo adirectora conductorde andorquestra e wongañou severalvarios prizespremios forde composingcomposición. UnableIncapaz forpor healthmotivos reasonsde tosaúde followde herseguir initialas ambitionssúas toambicións beiniciais ade pianistser orpianista aou dancerbailarina, Imogen spentpasou mosta ofmaior parte da década thede 1930s1930 teachingensinando, ande ascomo organizadora a full-time organisertempo forcompleto theda [[English Folk Dance and Song Society]]. TheseEstes dutiesdeberes reducedreduciron heras compositionalsúas activitiesactividades compositivas, althoughaínda sheque madefixo manymoitos arrangementsarranxos ofde folksongspezas populares. AfterLogo serving asde anexercer organisercomo fororganizadora thedo [[ArtsConsello Councildas ofArtes de GreatGran BritainBretaña|CouncilCounsello forpara theo EncouragementFomento ofda MusicMúsica ande theas ArtsArtes]] atao theinicio startda of[[segunda theguerra Second World Warmundial]], inen 1942 shecomezou begana workingtraballar aten Dartington. InNos herseus ninenove yearsanos therealí sheestableceu establisheden Dartington ascomo aun majorcentro centreimportante ofde musiceducación educatione andactividade activitymusical.
 
InA theprincipios earlyda 1950sdécada de 1950 Imogen becameconverteuse na asistente musical de [[Benjamin Britten]]'s musical assistant, movedtrasladouse toa Aldeburgh, ande begancomezou helpinga withaxudar thecoa organisationorganización ofdo thefestival annualanual Aldeburghde FestivalAldeburgh. InEn 1956 sheconverteuse becamena jointdirectora artisticartística director of thedo festival, ande duringdurante theos followingseguintes 20 years helped itanos toaxudouno a positionacadar ofunha pre-eminenceposición inpreeminente Britishna vida musical lifebritánica. InEn 1964 sherenunciou gavecomo upasistente her work asde Britten's assistant, topara resumeretomar hera ownsúa compositionalpropia careercarreira andcomo tocompositora concentratee onconcentrarse thena preservationpreservación ofdo her father'slegado musical legacyde seu pai. Imogen'sA ownpropia musicmúsica isde notImogen widelynon knowné andamplamente hascoñecida receivede littlerecibiu criticalpouca attentionatención da crítica; muchboa parte dela é ofinédita ite isnon unpublishedse andinterpretou unperformednunca. TheA firstprimeira recordingsgravación dedicatedadicada toás hersúas worksobras, issuedrealizada inentre 2009 ande 2012, werefoi warmlycalidamente receivedrecibida bypola criticscrítica. SheFoi was appointednomeada CBE inen 1975 ande receivedrecibiu numerousnumerosos academichonores honoursacadémicos. SheMorreu died aten Aldeburgh and ise buriedestá inenterrada theno churchyardseu therecamposanto.
 
==Background Antecedentes ==
=== Primeiros anos e familia ===
[[FileFicheiro:House on The Terrace, Barnes - geograph.org.uk - 1309706.jpg|thumbminiatura|rightdereita|upright|TheA housecasa inna que a familia Holst viviu en [[Barnes, London|Barnes]] where the Holst family lived betweenentre 1908 ande 1913.]]
Imogen Holst wasnaceu born ono 12 Aprilde abril de 1907 atno número 31 de Grena Road, [[Richmond, LondonLondres|Richmond]], aunha riversidecidade townribeireña toao theoeste westde of LondonLondres.<ref>Grogan and Strode, "Part I: 1907–31", p. 2</ref> HerSeus parentspais wereeran [[Gustav Holst|Gustav Theodore Holst]], anun aspiringaspirante composera thencompositor workinge asque alogo musictraballaría teachercomo profesor de música, ande Isobel, ''née''de solteira Harrison. TheA familia Holst family, ofde mixedascendencia Swedishsueca, Germanalemá ande Latvian ancestryletona, hadestaba beenen inInglaterra England sincedende 1802 ande hadforan beenmúsicos musiciansdurante forvarias several generationsxeracións.{{refn|TheO family'sapelido nameda wasfamilia foi "von Holst" untilata que Gustav changedmudouno it inen 1918, duringdurante thea First[[primeira Worldguerra Warmundial]].<ref>{{London Gazette|issue=30928|startpage=11615|date=1 October 1918|}}</ref>|group= n}} Gustav followedseguiu thisesta familytradición traditionfamiliar; whilementres studyingestudaba at theno [[Royal College of Music]] (RCM), he metcoñeceu Isobel Harrison, whoque sangcantaba innun onedos ofcoros theafeccionados amateurque choirsel that he conducteddirixía. HeInmediatamente wassentiuse immediatelyatraído attractedpor to herela, ande theycasaron wereo married22 onde 22xullo Julyde 1901.<ref>Holst, p. 29</ref>
 
WhileMentres attemptingtentaba toestablecerse establishcomo himself as a composercompositor, Gustav Holst workedtraballor firstprimeiro ascomo antrombonista orchestralnunha trombonistorquestra, ande laterlogo ascomo a teacherprofesor. InEn 1907 he heldocupou teachingpostos postsdocentes aten [[James Allen's Girls' School]] inen [[Dulwich]], ande [[St Paul's Girls' School]] (SPGS) inen [[Hammersmith]], whereonde he wasfoi director ofde musicmúsica.<ref>{{cite web|last= Matthews|first= Colin|title= Holst, Gustav(us Theodore von)|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/13252?q=Gustav+Holst&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 21 February 2014}} {{subscription}}</ref> HeTamén alsoensinou taughten eveningclases classesnocturnas atno [[Morley College]], anun adultcentro educationde centreensino inpara thepersoas adultas no distrito de [[Waterloo, LondonLondres|Waterloo]] district of London(Londres).<ref name=dnb>{{cite web|last=Warrack|first=John|title=Holst, Gustav Theodore (1874–1934)|url=http://www.oxforddnb.com/view/article/33963|work=Oxford Dictionary of National Biography|publisher=Oxford University Press|accessdate=22 March 2013|authorlink=John Warrack}}{{ODNBsub}}</ref> ShortlyPouco afterdespois Imogen'sdo birthnacemento thede familyImogen moveda fromfamilia Richmondtrasladouse tode Richmond a smallunha housepequena bycasa theao riverlado indo nearbyrío na próxima [[Barnes, LondonLondres|Barnes]], whichque theyalugaron renteda fromun a relativefamiliar. Imogen'sOs mainprincipais memoriesrecordos ofde thisImogen housedesta werecasa oferan herde fatherseu workingpai intraballando hisno composingseu roomestudo ondo theandar top floorsuperior, whichao sheque wasse forbiddenlle toprohibiu visitvisitar, ande ofdos hisseus effortsesforzos topor teachensinarlle hercancións folk-songspopulares.<ref name= GS2>Grogan and Strode, "Part I: 1907–31", pp. 2–3</ref>
===Early life and family===
[[File:House on The Terrace, Barnes - geograph.org.uk - 1309706.jpg|thumb|right|upright|The house in [[Barnes, London|Barnes]] where the Holst family lived between 1908 and 1913]]
Imogen Holst was born on 12 April 1907 at 31 Grena Road, [[Richmond, London|Richmond]], a riverside town to the west of London.<ref>Grogan and Strode, "Part I: 1907–31", p. 2</ref> Her parents were [[Gustav Holst|Gustav Theodore Holst]], an aspiring composer then working as a music teacher, and Isobel, ''née'' Harrison. The Holst family, of mixed Swedish, German and Latvian ancestry, had been in England since 1802 and had been musicians for several generations.{{refn|The family's name was "von Holst" until Gustav changed it in 1918, during the First World War.<ref>{{London Gazette|issue=30928|startpage=11615|date=1 October 1918|}}</ref>|group= n}} Gustav followed this family tradition; while studying at the [[Royal College of Music]] (RCM), he met Isobel Harrison, who sang in one of the amateur choirs that he conducted. He was immediately attracted to her, and they were married on 22 July 1901.<ref>Holst, p. 29</ref>
 
=== Estudios ===
While attempting to establish himself as a composer, Gustav Holst worked first as an orchestral trombonist, and later as a teacher. In 1907 he held teaching posts at [[James Allen's Girls' School]] in [[Dulwich]], and [[St Paul's Girls' School]] (SPGS) in [[Hammersmith]], where he was director of music.<ref>{{cite web|last= Matthews|first= Colin|title= Holst, Gustav(us Theodore von)|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/13252?q=Gustav+Holst&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 21 February 2014}} {{subscription}}</ref> He also taught evening classes at [[Morley College]], an adult education centre in the [[Waterloo, London|Waterloo]] district of London.<ref name=dnb>{{cite web|last=Warrack|first=John|title=Holst, Gustav Theodore (1874–1934)|url=http://www.oxforddnb.com/view/article/33963|work=Oxford Dictionary of National Biography|publisher=Oxford University Press|accessdate=22 March 2013|authorlink=John Warrack}}{{ODNBsub}}</ref> Shortly after Imogen's birth the family moved from Richmond to a small house by the river in nearby [[Barnes, London|Barnes]], which they rented from a relative. Imogen's main memories of this house were of her father working in his composing room on the top floor, which she was forbidden to visit, and of his efforts to teach her folk-songs.<ref name= GS2>Grogan and Strode, "Part I: 1907–31", pp. 2–3</ref>
[[Ficheiro:Gustav Holst.jpg|miniatura|esquerda|upright=0.7|Gustav Holst en torno a 1921.]]
As descricións de Imogen de pequena indican que tiña os ollos azuis, pelo loiro, unha cara ovalada que lembra á de seu pai, e un nariz bastante prominente herdado de súa nai.<ref name= GS2/> En 1912, aos cinco anos, uniuse á clase do xardín de infancia do [[Froebel College|Froebel Institute]], e permaneceu na escola cinco anos. Pasaban as vacacións a miúdo na casa de campo alugada polos Holst en [[Thaxted]] ([[Essex]]), onde Gustav Holst comezou un festival anual de Pentecoste en 1916.<ref>Grogan and Strode, "Part I: 1907–31", p. 6</ref>
 
InEn 1917 Imogen begancomezou boardinga atestudar en [[Eothen School|Eothen]], aunha small,pequena privateescola schoolprivada forpara girlsnenas inen [[Caterham]],<ref>Gibbs, pp. 29–30</ref> whereonde [[Jane Joseph]], Holst'sa staralumna pupilestrela fromde Holst no SPGS, taughtensinoulle musicmúsica. ANunha carta á lettersúa homecasa, dateddatada o 17 Julyde xullo de 1917, tellsfala ofda "compertishions{{sic}}comprensión, ande rippingexcelentes prizespremios, ande strawberriesfresas ande crema creampara foro tea".<ref>Grogan and Strode, "Part I: 1907–31", pp. 7–8</ref> AtNa the schoolescola, Imogen studiedestudou piano withcon Eleanor Shuttleworth, violinviolín withcon André Mangeot (describeddescrito ascomo "toppingexcelente") ande theoryteoría withcon Jane Joseph ("rippingestupenda") "topping"). UnderBaixo Joseph'sa tuitiontutela de Joseph Imogen producedrealizou heras firstsúas compositions—threeprimeiras instrumentalcomposicións pieces—tres andpezas someinstrumentais Christmase carolalgunha tunes—whichmelodía shede numberedvilancicos asde Nadal— ás que numerou como Ops. 1, 2, 3 ande 4.<ref>Grogan and Strode, "Part I: 1907–31", pp. 9–12</ref> InNo theverán summer term ofde 1920, shecompuxo composede and choreographedfixo a coreografía da "Dance of the Nymphs and Shepherds", whichque wasfoi performedrepresentada atna theescola schoolbaixo undera hersúa directiondirección ono 9 Julyde xullo.<ref>Grogan and Strode, "Part I: 1907–31", p. 15</ref>{{refn|TheA música da danza "Nymphs and Shepherds" dancefoi music was Imogen'so Op. 4 de Imogen, originallyorixinalmente titledtitulada ''The Masque of the Tempest''.<ref>Tinker and Strode, p. 451.</ref>|group= n}}
===Schooling===
[[File:Holst-by-rothenstein-1920.jpg|left|thumb|upright=0.7| Gustav Holst circa 1920, drawn by [[William Rothenstein]] ]]
Descriptions of Imogen as a small child indicate that she had blue eyes, fair hair, an oval face reminiscent of her father's, and a rather prominent nose inherited from her mother.<ref name= GS2/> In 1912, at the age of five, she joined the kindergarten class at the [[Froebel College|Froebel Institute]], and remained at the school for five years. Holidays were often spent at the Holsts' rented country cottage at [[Thaxted]] in [[Essex]], where Gustav Holst began an annual Whitsun Festival in 1916.<ref>Grogan and Strode, "Part I: 1907–31", p. 6</ref>
 
Imogen leftdeixou Eothen inen Decemberdecembro de 1920 hopingcoa toesperanza studyde underestudar con Ruby Ginner at thena Ginner-Mawer School of Dance and Drama,<ref>{{cite web|title= Ruby Ginner (1886–1978)|url= http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803095853709|work= Oxford Index|publisher= Oxford University Press|accessdate= 21 February 2014}}</ref> butmais wasfoi rejectedrexeitada asporque probablyprobablemente lackingcarecía thede staminaresistencia forpara aunha dancingcarreira careerna danza. WhileMentres studyingestudaba atna homecasa underbaixo aunha governessgobernanta fordurante sixseis monthsmeses, atno WhitsunPentecoste de 1921 sheparticipou tookcomo partbailarina asnunha aprodución dancerda in[[semiópera]] a production ofde [[Henry Purcell|Purcell]]'s [[semi-opera]] from 1690, ''[[Dioclesian]]'', aunha versión ideada versionen largelyboa devisedparte bypor Joseph.<ref name= GS16>Grogan and Strode, "Part I: 1907–31", pp. 16–17</ref><ref>Grogan and Strode, "Part I: 1907–31", pp. 25–26</ref><ref>{{cite journal|authorlink= Gustav Holst|last= Holst|first= Gustav|title= Jane Joseph: A brief discussion of her published music|url= http://landofllostcontent.blogspot.co.uk/2009/08/jane-joseph-brief-discussion-of-her.html|journal= The Monthly Musical Record|date= April 1931|pages=97–98|accessdate= 24 June 2016}}</ref>
In 1917 Imogen began boarding at [[Eothen School|Eothen]], a small, private school for girls in [[Caterham]],<ref>Gibbs, pp. 29–30</ref> where [[Jane Joseph]], Holst's star pupil from SPGS, taught music. A letter home, dated 17 July 1917, tells of "compertishions{{sic}}, and ripping prizes, and strawberries and cream for tea".<ref>Grogan and Strode, "Part I: 1907–31", pp. 7–8</ref> At the school, Imogen studied piano with Eleanor Shuttleworth, violin with André Mangeot (described as "topping") and theory with Jane Joseph ("ripping"). Under Joseph's tuition Imogen produced her first compositions—three instrumental pieces and some Christmas carol tunes—which she numbered as Ops. 1, 2, 3 and 4.<ref>Grogan and Strode, "Part I: 1907–31", pp. 9–12</ref> In the summer term of 1920, she composed and choreographed a "Dance of the Nymphs and Shepherds", which was performed at the school under her direction on 9 July.<ref>Grogan and Strode, "Part I: 1907–31", p. 15</ref>{{refn|The "Nymphs and Shepherds" dance music was Imogen's Op. 4, originally titled ''The Masque of the Tempest''.<ref>Tinker and Strode, p. 451.</ref>|group= n}}
 
InEn Septembersetembro de 1921 Imogen becamecomezou a boarderestudar atna St Paul's Girls School. InEn Julyxullo de 1922 sheinterpretou performedun aPreludio Bache PreludeFuga andde Fugue[[Johan onSebastian theBach|Bach]] ao piano, for whichque Joseph praisedalabou her warmly,calidamente writingescribindo: "ICreo thinkque everyonetodo enjoyedo themundo Bachdisfrutou fromdo beginningBach todende end,o theyprincipio allata madeo nicefinal, contentedtodos noisesaplaudiron atao theseu end of itfinal".<ref>Grogan and Strode, "Part I: 1907–31", pp. 18–20</ref> Os anos de Imogen's na SPGS yearsforon werepolo generallyxeral happyledos ande successfulexitosos. InEn Julyxullo de 1923 shegañou won the junioro Alice Lupton, pianoun prize,premio butjúnior herpara chancespianistas, ofmais distinctionsúas asposibilidades ade pianistdistinción werecomo marredpianista whenvíronse sheafectadas begancando tocomezou a developdesenvolver [[phlebitisflebite]] inno herseu leftbrazo armesquerdo.<ref name= GS22>Grogan and Strode, "Part I: 1907–31", pp. 22–26</ref>{{refn|In anNun obituarytributo tributeobituario, Ursula Vaughan Williams refersrefírese toás Imogen'scondicións armdo conditionbrazo asde Imogen como "inheritedherdada fromde herseu fatherpai".<ref name= Obit/> InDe factfeito, Gustav Holst sufferedpadecía fromde neuritisneurite inno hisseu rightbrazo armdereito, anunha condición equallyigualmente disablingincapacitante butpero unrelatednon conditionrelacionada.<ref name= GS22/>|group= n}} AmongEntre otheroutras activitiesactividades, sheinteresouse becamepola interestedmúsica infolklórica folke musica and dancedanza, ande inen 1923 became aconverteuse memberen ofmembro theda [[English Folk Dance and Song Society|English Folk Dance Society]] (EFDS). InEn 1924–25, hero finalseu yearúltimo atano na SPGS, Imogen foundedfundou aunha folksociedade dancede societydanza infolklórica thena schoolescola. AtNun anconcerto end-of-termescolar schoolde concertfin latede incurso a finais de xullo Julyde 1925, shetocou playedo [[Étude Op. 10, No. 3 (Chopin)|Chopin's étude in E major]] ande gaveestreou thea first''Toccata'' performance ofde Gustav Holst's ''Toccata''.<ref>Grogan and Strode, "Part I: 1907–31", pp. 29–32</ref>
Imogen left Eothen in December 1920 hoping to study under Ruby Ginner at the Ginner-Mawer School of Dance and Drama,<ref>{{cite web|title= Ruby Ginner (1886–1978)|url= http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803095853709|work= Oxford Index|publisher= Oxford University Press|accessdate= 21 February 2014}}</ref> but was rejected as probably lacking the stamina for a dancing career. While studying at home under a governess for six months, at Whitsun 1921 she took part as a dancer in a production of [[Henry Purcell|Purcell]]'s [[semi-opera]] from 1690, ''[[Dioclesian]]'', a version largely devised by Joseph.<ref name= GS16>Grogan and Strode, "Part I: 1907–31", pp. 16–17</ref><ref>Grogan and Strode, "Part I: 1907–31", pp. 25–26</ref><ref>{{cite journal|authorlink= Gustav Holst|last= Holst|first= Gustav|title= Jane Joseph: A brief discussion of her published music|url= http://landofllostcontent.blogspot.co.uk/2009/08/jane-joseph-brief-discussion-of-her.html|journal= The Monthly Musical Record|date= April 1931|pages=97–98|accessdate= 24 June 2016}}</ref>
 
==== Royal College of Music ====
In September 1921 Imogen became a boarder at St Paul's Girls School. In July 1922 she performed a Bach Prelude and Fugue on the piano, for which Joseph praised her warmly, writing: "I think everyone enjoyed the Bach from beginning to end, they all made nice contented noises at the end of it".<ref>Grogan and Strode, "Part I: 1907–31", pp. 18–20</ref> Imogen's SPGS years were generally happy and successful. In July 1923 she won the junior Alice Lupton piano prize, but her chances of distinction as a pianist were marred when she began to develop [[phlebitis]] in her left arm.<ref name= GS22>Grogan and Strode, "Part I: 1907–31", pp. 22–26</ref>{{refn|In an obituary tribute, Ursula Vaughan Williams refers to Imogen's arm condition as "inherited from her father".<ref name= Obit/> In fact, Gustav Holst suffered from neuritis in his right arm, an equally disabling but unrelated condition.<ref name= GS22/>|group= n}} Among other activities she became interested in folk music and dance, and in 1923 became a member of the [[English Folk Dance and Song Society|English Folk Dance Society]] (EFDS). In 1924–25, her final year at SPGS, Imogen founded a folk dance society in the school. At an end-of-term school concert late in July 1925, she played [[Étude Op. 10, No. 3 (Chopin)|Chopin's étude in E major]] and gave the first performance of Gustav Holst's ''Toccata''.<ref>Grogan and Strode, "Part I: 1907–31", pp. 29–32</ref>
[[FileFicheiro:Royal College of Music - April 2007.jpg|thumbminiatura|TheO Royal College of Music.]]
 
AlthoughAínda destinedque likedestinada hercomo fatherseu forpai theao RCM, Imogen firstprimeiro spentpasou aun yearano studyingestudando compositioncomposición withcon [[Herbert Howells]] ande piano withcon [[Adine O'Neill]], whilementres otherwisepor occupyingoutra herselfbanda withocupouse EFDScoas activitiesactividades da EFDS.<ref>Grogan and Strode, "Part I: 1907–31", pp. 33–40</ref> SheComezou beganno atRCM the RCMen insetembro Septemberde 1926, studyingestudando piano withcon [[Kathleen Long]], compositioncomposición withcon [[George Dyson (composercompositor)|George Dyson]], ande dirección de conductingorquestra undercon [[William Henry Reed|W. H. Reed]]. HerAs aptitudesúas asaptitudes acomo conductordirectora wasfoi evidentevidente inen Decemberdecembro de 1926, whencando shedirixiu leda theTerceira college'sOrquestra Thirddo Orchestraconservatorio inno theprimeiro openingmovemento movement ofsa [[WolfgangSinfonía Amadeusn.º 38 (Mozart)|MozartSinfonía "Praga"]]'s de [[SymphonyWolfgang No.Amadeus 38 (Mozart)|"Prague" SymphonyMozart]].<ref>Grogan and Strode, "Part I: 1907–31", pp. 41–42</ref> ThisEsta ande otheroutras performancesinterpretacións onno thepodio podiumlevaron leda ''[[The Daily Telegraph]]'' toa speculateespecular thatcon que Imogen mightpodería eventuallyconverterse becomena theprimeira firstmuller woman toen "establishestablecer aunha securepermanencia tenurefirme ofna theplataforma conductor'sdo platformdirector".<ref>Grogan and Strode, "Part I: 1907–31", p. 46</ref>
====Royal College of Music====
[[File:Royal College of Music - April 2007.jpg|thumb|The Royal College of Music]]
Although destined like her father for the RCM, Imogen first spent a year studying composition with [[Herbert Howells]] and piano with Adine O'Neill, while otherwise occupying herself with EFDS activities.<ref>Grogan and Strode, "Part I: 1907–31", pp. 33–40</ref> She began at the RCM in September 1926, studying piano with [[Kathleen Long]], composition with [[George Dyson (composer)|George Dyson]], and conducting under [[William Henry Reed|W. H. Reed]]. Her aptitude as a conductor was evident in December 1926, when she led the college's Third Orchestra in the opening movement of [[Wolfgang Amadeus Mozart|Mozart]]'s [[Symphony No. 38 (Mozart)|"Prague" Symphony]].<ref>Grogan and Strode, "Part I: 1907–31", pp. 41–42</ref> This and other performances on the podium led ''[[The Daily Telegraph]]'' to speculate that Imogen might eventually become the first woman to "establish a secure tenure of the conductor's platform".<ref>Grogan and Strode, "Part I: 1907–31", p. 46</ref>
InNo herseu secondsegundo RCMano yearno RCM Imogen concentratedconcentrouse onna compositioncomposición, producingproducindo severalvarias chamberobras worksde includingcámara, aincluindo violinunha sonata para violín, anun oboequinteto quintetpara óboe, ande aunha suitesiute forpara woodwindmadeiras. SheDeu tookos herseus firstprimeiros stepspasos towardscara personalá independenceindependencia whenpersoal shecando movedse fromtrasladou theda familycasa home tofamiliar a [[bedsit]]unha nearhabitación próxima a [[Kensington Gardens]].<ref name= GS49>Grogan and Strode, "Part I: 1907–31", pp. 49–52</ref> InEn 1928 sheviaxou wenta toBélxica Belgium with thecoa EFDS, tooktomou anunhas Italianvacacións holidayen Italia, ande madefixo anunha extendedlonga tripviaxe topor GermanyAlemaña withcun agrupo groupcoñecido known ascomo "The Travelling Morrice" whichque promotedpromoveu internationalo understandingentendemento throughinternacional musica andtravés da música e a dancedanza.<ref name= GS49/> InEn Octoberoutubro de 1928 shegañou wono the RCM'spremio Cobbett prizedo forRCM anpor originalunha chambercomposición compositioncamerística orixinal, o herseu cuarteto ''Phantasy'' String Quartet, ande shortlypouco afterwardsdespois wasgañou awarded thea Morley Scholarship forpara thea "best all-roundmellor studentestudante".<ref name="Strode p. 72">Grogan and Strode, "Part I: 1907–31", p. 72</ref> TheO quartetcuarteto wasfoi broadcastretransmitido by thepola BBC ono 20 Marchde marzo de 1929,<ref>Grogan and Strode, "Part I: 1907–31", p. 60</ref> butmais forpara herela, theo achievementlogro wasfoi overshadowedeclipsado bypolas thenoticias newsda thatmorte monthprematura ofda thesúa prematurementora deathJane ofJoseph herese early mentor Jane Josephmes.<ref>Gibbs, pp. 50–51</ref><ref>{{cite web|last= Gibbs|first= Alan|title= Joseph, Jane Marian|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/52756?q=Jane+Joseph&search=quick&pos=1&_start=1|work= Grove Music Online|publisher= Oxford University Press|accessdate= 23 February 2014}}</ref>
 
InNo theinverno winter ofde 1929 Imogen maderealizou hera firstsúa visitprimeira tovisita Canadaao andCanadá thee Unitedos StatesEstados Unidos, ascomo partparte ofdunha ancelebración EFDSda partyEFDS.<ref>Grogan and Strode, "Part I: 1907–31", pp. 67–70</ref> BackDe homevolta na casa, shetraballou workedna onsúa composición herfinal RCMpara finalso compositionRCM, aunha suite for brasspara bandmetais entitledtitulada ''The Unfortunate Traveller''.<ref name="Strode p. 72"/> DespiteA somepesar apprehensionde oncerta heraprensión partpola súa parte, thea pieceobra passedsuperou theo examiners'escrutino scrutinydos andexaminadores wase playedfoi atinterpretada theno college'sconcerto de final de curso end-of-yeardo concertconservatorio inen Julyxullo.{{refn|InEn 1969, afterlogo da morte de Isobel Holst's death, Imogen foundencontrou theo manuscriptmanuscrito ofde ''The Unfortunate Traveller'' amongentre heras mother'sposesións possessionsde súa nai. ToPara herela, thea workobra symbolisedsimbolizaba whato sheque perceivedpercibía tocomo beo herseu failurefracaso ascomo a composercompositora, ande sheinsistiu insisteden thatque these manuscriptqueimara beo burntmanuscrito.<ref>Grogan, "Part IV: 1955–84", p. 394</ref> |group= n}} Imogen gainedobtivo hero seu diploma [[ARCM]] diploma, ande learnedsoubo alsotamén thatque shelle hadconcederan been awarded anunha Octavia Travelling Scholarship which wouldque enablelle herpermitiría toestudar studycomposición compositionno abroadestranxeiro.<ref>Grogan and Strode, "Part I: 1907–31", pp. 74–76</ref>
 
==Career Carreira ==
===European travelsViaxes por Europa, 1930–31 ===
Imogen spentpasou mucha ofmaior periodparte betweendo Septemberperíodo comprendido entre setembro de 1930 ande Maymaio de 1931 travellingviaxando. A briefunha visitbreve tovisita a [[LiègeLiexa]] inen Septembersetembro wasseguiulle followedinmediatamente immediatelyunha byviaxe ade three-monthtres roundmeses trip,por to Scandinavia[[Escandinavia]], Germany[[Alemaña]], [[Austria]] ande Hungary[[Hungría]], returningregresando toa EnglandInglaterra viavía Prague[[Praga]], Dresden[[Dresde]], [[Leipzig]], Berlin[[Berlín]] ande [[Amsterdam]]. HerA súa "orgyorxía ofde musicalexperiencias experiencesmusicais" includedincluíron aunha Mozartperegrinación pilgrimagemozartiana ina Salzburg[[Salzburgo]], representacións performances ofde ''[[Der Rosenkavalier]]'' ande ''[[Die Entführung aus dem Serail]]'' at thena [[ViennaÓpera StateEstatal Operade Viena]], Bach inen BerlinBerlín ande a [[SymphonySinfonía Non.º 7 (Mahler)|Mahler'sSétima Seventhde SymphonyMahler]] inen Amsterdam.<ref>Grogan and Strode, "Part II, 1931–52", pp. 79–90</ref> OnO 1 Februaryde febreiro de 1932 shepartiu departedde againnovo, thisdesta timevez fora Italy[[Italia]]. AfterLogo adunha two-monthviaxe tourde dous meses Imogen cameregresou homea withcasa mixedcon viewscunha onvisión Italianmixta music-makingda música italiana. SheEla concludedconcluíu thatque "theos Italiansitalianos areson aunha nationnación ofde singerscantantes&nbsp;... But music isMais a differentmúsica languageé inunha thatlinguaxe partdiferente ofnesta theparte worlddo mundo". BackDe involta Londonen Londres, shedecidiu decidedque thata despitepesar herdas experiencessúas experiencias, "ifse ité ismúsica musico oneque isun wantingquere, therenon ishai nolugar placecoma like LondonLondres"."<ref>Grogan and Strode, "Part II, 1931–52", pp. 91–93</ref><ref name= guardian>{{cite news|last= Grogan|first= Christopher|title= Daughter of the renaissance|url= https://www.theguardian.com/music/2007/oct/17/classicalmusicandopera|newspaper= The Guardian|date= 17 October 2007|accessdate= 24 June 2016}}</ref>
 
=== Principalmente na ensinanza, 1931–38 ===
===European travels, 1930–31===
[[FileFicheiro:Cecil Sharp House-1.jpg|thumbminiatura|leftesquerda|Cecil Sharp House, Londonsede headquarterslondinense of theda English Folk Dance and Song Society.]]
Imogen spent much of period between September 1930 and May 1931 travelling. A brief visit to [[Liège]] in September was followed immediately by a three-month round trip, to Scandinavia, Germany, Austria and Hungary, returning to England via Prague, Dresden, Leipzig, Berlin and Amsterdam. Her "orgy of musical experiences" included a Mozart pilgrimage in Salzburg, performances of ''[[Der Rosenkavalier]]'' and ''[[Die Entführung aus dem Serail]]'' at the [[Vienna State Opera]], Bach in Berlin and [[Symphony No. 7 (Mahler)|Mahler's Seventh Symphony]] in Amsterdam.<ref>Grogan and Strode, "Part II, 1931–52", pp. 79–90</ref> On 1 February 1932 she departed again, this time for Italy. After a two-month tour Imogen came home with mixed views on Italian music-making. She concluded that "the Italians are a nation of singers&nbsp;... But music is a different language in that part of the world". Back in London, she decided that despite her experiences, "if it is music one is wanting, there is no place like London."<ref>Grogan and Strode, "Part II, 1931–52", pp. 91–93</ref><ref name= guardian>{{cite news|last= Grogan|first= Christopher|title= Daughter of the renaissance|url= https://www.theguardian.com/music/2007/oct/17/classicalmusicandopera|newspaper= The Guardian|date= 17 October 2007|accessdate= 24 June 2016}}</ref>
WithCos herseus scholarshipfondos fundsde exhaustedbolsas de estudos esgotados, Imogen neededprecisaba adun jobtraballo, ande inen Junexuño de 1931 tookfíxose chargecargo ofda musicmúsica atno thecentro Citizende Houseartes artse andensinanza educationCitizen centreHouse inen [[Bath (Somerset)|Bath]].{{refn|A Citizen House hadfora beenfundada founded inen 1916 bypor Helen Hope, ascomo acentro para centreo forbenestar social welfare, educationa andeducación thee as artsartes. ItEsta includedincluía aun theatregrupo group,de theteatro os Citizen House Players, ande eventuallyfinalmente aun teatro con capacidade para 200-seat theatrepersoas.<ref>{{cite web|title= Little Theatre with a big heart celebrates 70 years in Bath|url= http://www.bathchronicle.co.uk/Little-Theatre-big-heart-celebrates-70-years-Bath/story-11349391-detail/story.html|work= The Bath Chronicle|date= 30 December 2008|accessdate= 24 June 2016 }}</ref>|group= n}} SheNon dislikedlle thegustaba disciplinesa imposeddisciplina byimposta anpor unsympatheticun andsuperior unyieldingantipático superiore inflexible, ande she stayedpermaneceu onlyalí auns fewpoucos monthsmeses.<ref>Grogan and Strode, "Part II, 1931–52", pp. 97–99</ref> SheLogo thentraballou workedcomo asdirectora aindependente freelancee conductorpianista andacompañante accompanistantes beforede joiningunirse theao staffpersoal of theda EFDS earlya inprincipios de 1932. TheA organisationorganización hadexpandírase byata nowconverterse expanded to become thena "English Folk Dance and Song Society" (EFDSS) ande wasestaba basedlocalizada inna newsúa headquartersnova atsede en Cecil Sharp House.{{refn|TheA EFDSS wascreouse establisheden inmarzo Marchde 1932, afterlogo thede que a English Folk Dance Society, forpara whicha que Imogen hadtraballara workedde voluntarilyxeito forvoluntario manydurante yearsmoitos anos, hadacordara agreedfusionarse to merge with thecoa English Folk Song Society.<ref>Grogan and Strode, "Part II, 1931–52", p. 100</ref><ref>{{cite journal|last= Keel|first= Frederick|title= The Folk Song Society 1898–1948| jstor= 4521287|journal= Journal of the English Folk Dance and Song Society|volume= 5|issue= 3|date= December 1948|page=126}} {{subscription}}</ref>|group= n}} TheOs dutiesdeberes, mainlyprincipalmente teachinga ensinanza, werenon noteran full-time,a andtempo shecompleto, wase ablepuido tocoller taketraballos upa part-timetempo teachingparcial postsensinando atna hersúa oldantiga schoolescola, Eothen, ande aten [[Roedean School]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 109–12</ref> AlthoughAínda sheque composedcompuxo littlepouca originalmúsica musicorixinal duringdurante theseeses yearsanos, sherealizou mademoitos manyarranxos instrumentalinstrumentais ande vocalvocais arrangements ofde traditionalmelodías folkfolclóricas melodiestradicionais.<ref name= IHM>{{cite journal|last= Tinker|first= Christopher|title= Imogen Holst's Music 1962–64| jstor= 945906|journal= Tempo (New Series)|issue= 166|pages=22–27}} {{subscription}}</ref>
 
GustavA Holst'ssaúde healthde hadGustav beenHolst fora poorpobre fordurante yearsanos; inno theinverno winterde of 1933–34 it1933-34 deteriorateddeteriorouse, and hee diedmorreu ono [[25 Mayde maio]] de [[1934]]. Imogen privatelydetermiou determineden thatprivado sheque wouldprotexería protecto her father'slegado musical legacyde seu pai, ande begancomezou workinga ontraballar hisna biographysúa biografía. MeanwhileMentres hertanto owna musicsúa beganpropia tomúsica attractcomezou attentiona chamar a atención. HerO carolseu arrangementarranxo do vilancico "Nowell and Nowell" wasfoi performedinterpretado innun aconcerto 1934de ChristmasNadal concerten in1934 na [[Chichestercatedral Cathedralde Chichester]], ande theo followingano yearseguinte sawviu thea premiereestrea ofdo herseu Concertoconcerto forpara Violinviolín ande Stringscordas, withcon Elsie Avril ascomo thesolista soloiste anda propia Imogen conductingdirixindo thea [[LondonOrquestra Filharmónica Philharmonicde OrchestraLondres]].<ref name= GS114>Grogan and Strode, "Part II, 1931–52", pp. 114–18</ref> InEn 1936 shefixo paidunha avisita visit toa [[Hollywood]], whereonde shese stayedquedou withco herseu uncletío (Gustav'so brotherirmán de Gustav), theo actor [[Ernest Cossart]]. AUn highlightpunto ofculminante thisdesta visitvisita wasfoi aun concerto de [[Richard Wagner|Wagner]] concert at theno [[Hollywood Bowl]], conducteddirixido bypor [[Otto Klemperer]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 118–20</ref> BackDe involta Englanden Inglaterra, Imogen workedtraballou onen recorderarranxos arrangementspara offrauta musicde bybico thedo neglecteddescoidado 16th-centurycompositor composerdo [[século XVI]] [[Pelham Humphrey]]. TheseEstes wereforon publishedpublicados inen 1936 tocunha anentusiasta enthusiasticrecepción criticalda receptioncrítica. HerA biographybiografía ofde herseu fatherpai wasfoi publishedpublicada inen 1938;<ref>Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref> amongentre severalnumerosos tributeshomenaxes, theo composercompositor [[Edmund Rubbra]] praisedeloxiouna herpor forter producingfeito aun booklibro thatque wasnon notestaba "cloudednublado bypolo sentimentsentimento&nbsp;... hera biographysúa isbiografía até onceá intimatevez andíntima e objectiveobxectiva".<ref>Edmund Rubbra in ''Monthly Musical Record'', November 1938, quoted in Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref>
===Mainly teaching, 1931–38===
[[File:Cecil Sharp House-1.jpg|thumb|left|Cecil Sharp House, London headquarters of the English Folk Dance and Song Society]]
With her scholarship funds exhausted, Imogen needed a job, and in June 1931 took charge of music at the Citizen House arts and education centre in [[Bath (Somerset)|Bath]].{{refn|Citizen House had been founded in 1916 by Helen Hope, as a centre for social welfare, education and the arts. It included a theatre group, the Citizen House Players, and eventually a 200-seat theatre.<ref>{{cite web|title= Little Theatre with a big heart celebrates 70 years in Bath|url= http://www.bathchronicle.co.uk/Little-Theatre-big-heart-celebrates-70-years-Bath/story-11349391-detail/story.html|work= The Bath Chronicle|date= 30 December 2008|accessdate= 24 June 2016 }}</ref>|group= n}} She disliked the disciplines imposed by an unsympathetic and unyielding superior, and she stayed only a few months.<ref>Grogan and Strode, "Part II, 1931–52", pp. 97–99</ref> She then worked as a freelance conductor and accompanist before joining the staff of the EFDS early in 1932. The organisation had by now expanded to become the "English Folk Dance and Song Society" (EFDSS) and was based in new headquarters at Cecil Sharp House.{{refn|The EFDSS was established in March 1932, after the English Folk Dance Society, for which Imogen had worked voluntarily for many years, had agreed to merge with the English Folk Song Society.<ref>Grogan and Strode, "Part II, 1931–52", p. 100</ref><ref>{{cite journal|last= Keel|first= Frederick|title= The Folk Song Society 1898–1948| jstor= 4521287|journal= Journal of the English Folk Dance and Song Society|volume= 5|issue= 3|date= December 1948|page=126}} {{subscription}}</ref>|group= n}} The duties, mainly teaching, were not full-time, and she was able to take up part-time teaching posts at her old school, Eothen, and at [[Roedean School]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 109–12</ref> Although she composed little original music during these years, she made many instrumental and vocal arrangements of traditional folk melodies.<ref name= IHM>{{cite journal|last= Tinker|first= Christopher|title= Imogen Holst's Music 1962–64| jstor= 945906|journal= Tempo (New Series)|issue= 166|pages=22–27}} {{subscription}}</ref>
 
=== Guerra: viaxando para o CEMA ===
Gustav Holst's health had been poor for years; in the winter of 1933–34 it deteriorated, and he died on 25 May 1934. Imogen privately determined that she would protect her father's musical legacy, and began working on his biography. Meanwhile her own music began to attract attention. Her carol arrangement "Nowell and Nowell" was performed in a 1934 Christmas concert in [[Chichester Cathedral]], and the following year saw the premiere of her Concerto for Violin and Strings, with Elsie Avril as the soloist and Imogen conducting the [[London Philharmonic Orchestra]].<ref name= GS114>Grogan and Strode, "Part II, 1931–52", pp. 114–18</ref> In 1936 she paid a visit to [[Hollywood]], where she stayed with her uncle (Gustav's brother), the actor [[Ernest Cossart]]. A highlight of this visit was a [[Richard Wagner|Wagner]] concert at the [[Hollywood Bowl]], conducted by [[Otto Klemperer]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 118–20</ref> Back in England, Imogen worked on recorder arrangements of music by the neglected 16th-century composer [[Pelham Humphrey]]. These were published in 1936 to an enthusiastic critical reception. Her biography of her father was published in 1938;<ref>Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref> among several tributes, the composer [[Edmund Rubbra]] praised her for producing a book that was not "clouded by sentiment&nbsp;... her biography is at once intimate and objective".<ref>Edmund Rubbra in ''Monthly Musical Record'', November 1938, quoted in Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref>
[[FileFicheiro:The Ballet Rambert Visiting An Aircraft Factory in Britain TR969.jpg|thumbminiatura|Un Aconcerto do CEMA concertdurante duringa thesegunda Secondguerra World Warmundial (aunha performancerepresentación ofde ''[[SergeiPetia Prokofiev|Prokofievi volk]]'s '' de [[PeterSergei and the WolfProkofev|Prokofev]]'' by thepolo [[Ballet Rambert]]).]]
 
En 1938 Imogen decidiu abandonar a música amateur e a ensinanza para concentrarse na seu propio desenrolo profesional. Renunciou o seu posto na EFDSS mentres continuaba a cos compromisos existentes coa organización. Renunciara ao seu traballo en Roedean en 1936; en Pascua de 1939 renunciou a Eothen. En xuño de 1939 comezou unha xira por [[Suíza]] que incluíu ao [[Festival de Lucerna]]. Contra finais de agosto, cando a guerra fíxose máis probable, interrompeu a viaxe e regresou a casa.<ref name= GS126>Grogan and Strode, "Part II: 1931–52", pp. 126–28</ref>
===War: travelling for CEMA===
[[File:The Ballet Rambert Visiting An Aircraft Factory in Britain TR969.jpg|thumb| A CEMA concert during the Second World War (a performance of [[Sergei Prokofiev|Prokofiev]]'s ''[[Peter and the Wolf]]'' by the [[Ballet Rambert]])]]
 
Logo do estalido da guerra o [[3 de setembro]] de [[1939]], Imogen traballou para a Bloomsbury House Refugee Committee, que apoiou a músicos refuxiados de Alemaña e Austria internados baixo regulacións de emerxencia. En xaneiro de 1949 aceptou un posto baixo o esquema organizativo do [[Pilgrim Trust]], para actuar como un dos seis "músicos viaxeiros", cuxo obxectivo era impulsar a moral animando as actividades musicais nas comunidades rurais. Imogen foi asignada para cubrir o oeste de Inglaterra, un área enorme que se extende dende [[Oxfordshire]] ata [[Cornualles]]. Cando o goberno estableceu o [[Arts Council of Great Britain|Council for the Encouragement of Music and the Arts]] (CEMA), a responsabilidade sobre os "músicos viaxeiros" pasou a este corpo.<ref>{{cite web|title= The history of the Arts Council|url= http://www.artscouncil.org.uk/who-we-are/history-arts-council/|publisher= Arts Council|accessdate= 4 March 2014}}</ref>|group= n}}
In 1938 Imogen decided to abandon amateur music-making and teaching to concentrate on her own professional development. She resigned her EFDSS post while continuing to honour existing commitments to the organisation. She had given up her work at Roedean in 1936; at Easter 1939 she resigned from Eothen. In June 1939 she began a tour of Switzerland which included the [[Lucerne Festival]]. Towards the end of August, as war became increasingly likely, she broke off the trip and returned home.<ref name= GS126>Grogan and Strode, "Part II: 1931–52", pp. 126–28</ref>
 
WithCon littlepouco practicalapoio supportpráctico fromdo CEMA, Imogen'sos organisationaltalentos talentsorganizativos de Imogen, accordingsegundo toa hersúa friendamiga [[Ursula Vaughan Williams]], "developeddesenvolvéronse de xeito brilliantlybrillante".<ref name= Obit>{{cite journal|last= Vaughan Williams|first= Ursula|title= Obituary: Imogen Holst, 1907–84|jstor= 4522176|journal= Folk Music Journal|volume= 4|issue= 5|year= 1984}} {{subscription}}</ref> AccordingDe toacordo Imogen'scos accountrelatos de Imogen, heros dutiesseus includeddeberes conductingincluían localdirixir brassbandas bandslocais, leadingdirixir hymn-singingensaios practicede himnos cantados ("fourteencatorce verymulleres oldmoi womenvellas incon hatssombreiros sittingsentadas roundao theredor edgedo ofbordo adunha darkescura, emptyvacía hideouscaseta tinde hutfolla de lata"), ande organisingorganizar sing-songscantos forpara evacueenenos childrenevacuados. SheOrganizou arrangedactuacións de performancesgrupos byprofesionais, professionale groups,o andque whatela shechamou termedfestivais "drop-in-and-sing" festivalsnos inque whichcalquera anyonepodía could joinparticipar. Imogne Imogentamén alsoescribe writessobre ofos "idyllicdías daysidílicos" spentque overpasou cupssobre oftazas teade té, discussingdebatindo theas hopesesperanzas ande dreamssoños ofdos would-beaspirantes a musiccreadores makersmusicais.<ref>Imogen Holst essay, first published in ''Making Music'', October 1946, reproduced in Grogan and Strode, "Part II: 1931–52", pp. 129–32</ref> HerA compositionalsúa activityactividade incompositiva thesedurante yearseses wasanos limitedestivo bylimitada timepolo andtempo e as pressurespresións ofdo worktraballo, butmais sheproduciu produceddous twotríos recorderpara trios—thefrauta de bico —as suites ''Offley'' ande ''Deddington'' suites—ande maderealizou numerousnumerosos arrangementsarranxos forde femalevilancicos voicese ofcancións carolstradicionais andpara traditionalcoro songsfeminino.<ref name= TS454>Tinker and Strode, pp. 454–55</ref> ByNo theverán summer ofde 1942 thea workloadcarga andde concomitanttraballo bureaucracye wasa suchburocracia thatconcomitante sheera wastal exhausted,que andestaba inesgotada, neede ofprecisaba adun lengthylongo restdescanso.<ref>Grogan and Strode, "Part II: 1931–52", pp. 136–37</ref>
After the outbreak of war on 3 September 1939, Imogen worked for the Bloomsbury House Refugee Committee, which supported German and Austrian refugee musicians interned under emergency regulations. In January 1940 she accepted a position under a scheme organised by the [[Pilgrim Trust]], to act as one of six "music travellers", whose brief was to boost morale by encouraging musical activities in rural communities. Imogen was assigned to cover the west of England, a huge area stretching from [[Oxfordshire]] to [[Cornwall]]. When the government set up the [[Arts Council of Great Britain|Council for the Encouragement of Music and the Arts]] (CEMA), responsibility for the music travellers passed to that body.<ref name= GS126/>{{refn|CEMA was created by a [[Royal Charter]] in 1940. In 1946 it evolved into the [[Arts Council of Great Britain]], under a new charter.<ref>{{cite web|title= The history of the Arts Council|url= http://www.artscouncil.org.uk/who-we-are/history-arts-council/|publisher= Arts Council|accessdate= 4 March 2014}}</ref>|group= n}}
 
=== Dartington ===
With little practical support from CEMA, Imogen's organisational talents, according to her friend [[Ursula Vaughan Williams]], "developed brilliantly".<ref name= Obit>{{cite journal|last= Vaughan Williams|first= Ursula|title= Obituary: Imogen Holst, 1907–84|jstor= 4522176|journal= Folk Music Journal|volume= 4|issue= 5|year= 1984}} {{subscription}}</ref> According to Imogen's account, her duties included conducting local brass bands, leading hymn-singing practice ("fourteen very old women in hats sitting round the edge of a dark, empty hideous tin hut"), and organising sing-songs for evacuee children. She arranged performances by professional groups, and what she termed "drop-in-and-sing" festivals in which anyone could join. Imogen also writes of "idyllic days" spent over cups of tea, discussing the hopes and dreams of would-be music makers.<ref>Imogen Holst essay, first published in ''Making Music'', October 1946, reproduced in Grogan and Strode, "Part II: 1931–52", pp. 129–32</ref> Her compositional activity in these years was limited by time and pressures of work, but she produced two recorder trios—the ''Offley'' and ''Deddington'' suites—and made numerous arrangements for female voices of carols and traditional songs.<ref name= TS454>Tinker and Strode, pp. 454–55</ref> By the summer of 1942 the workload and concomitant bureaucracy was such that she was exhausted, and in need of a lengthy rest.<ref>Grogan and Strode, "Part II: 1931–52", pp. 136–37</ref>
[[FileFicheiro:Main Hall entrance Dartington.jpg|thumbminiatura|leftesquerda|TheO mainedificio hallprincipal atde Dartington]]
 
===Dartington===
[[File:Main Hall entrance Dartington.jpg|thumb|left|The main hall at Dartington]]
In 1938, Imogen had visited [[Dartington Hall]], a progressive school and crafts community near [[Totnes]] in [[Devon]], which had been founded in 1925 by [[Leonard Elmhirst|Leonard]] and [[Dorothy Elmhirst]].<ref>Cox and Dobbs, p. 31</ref> In 1941–42, while travelling for CEMA in Devon and Cornwall, she was invited by the Elmhirsts to make her base at Dartington. In the summer of 1942, while recuperating there, she was persuaded by Christopher Martin, the centre's administrator, to resign her CEMA role and work at Dartington.<ref>Grogan and Strode, "Part II, 1931–52", p. 138</ref> He had in mind a music course, "the sort of thing that your father did in the old days at Morley College".<ref>Cox and Dobbs, pp. 10–27</ref> Beginning in 1943, Imogen established a one-year course, initially designed to train young women to organise amateur orchestras and musical events in rural communities. Gradually it developed into a more general musical education for a broader student intake. Under Imogen's leadership the course quickly became the hub of a range of musical activities, including the foundation of an amateur orchestra: "Hardly any of us could play&nbsp;... However bad we were, we went on".<ref>Grogan and Strode, "Part II, 1931–52", pp. 139–40</ref> Imogen's teaching methods, heavily based on "learning by doing" and without formal examinations, at first disconcerted her students and puzzled the school inspectors, but eventually gained acceptance and respect.<ref>Grogan and Strode, "Part II, 1931–52", p. 145</ref> Rosamond Strode, a pupil at Dartington who later worked with Imogen at Aldeburgh, said of her approach: "She knew exactly how, and when, to push her victims in at the deep end, and she knew, also, that although they would flounder and splash about at first, it wouldn't be long before&nbsp;... they would be swimming easily while she beamed approval from the bank".<ref>Rosamond Strode, in an unpublished typescript, quoted in Grogan and Strode, "Part II, 1931–52", pp. 154–55</ref>
 
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==Music==
{{FurtherAP|Lista Listde ofcomposicións compositions byde Imogen Holst}}
 
Imogen Holst was a part-time composer, intermittently productive within her extensive portfolio of musical activities. In her earlier years she was among a group of young British women composers—[[Elizabeth Maconchy]] and [[Elisabeth Lutyens]] were others—whose music was regularly performed and broadcast.<ref name= T434>Tinker, pp. 434–35</ref> According to a later critic, her ''Mass in A'' of 1927 showed "confident and imaginative layering of voices, building to a satisfying Agnus Dei".<ref name= indy>{{cite news|title= Album: Imogen Holst Choral Works|url= http://www.independent.co.uk/arts-entertainment/music/reviews/album-imogen-holst-choral-works-harmonia-mundi-8079137.html|newspaper= The Independent|date= 25 August 2012|accessdate= 24 June 2016}}</ref> However, for long periods in her subsequent career Imogen barely composed at all. After the RCM, her most active years as a composer were at Dartington in the 1940s and the "post-Britten" period after 1964.<ref name= IHM/> Her output of compositions, arrangements and edited music is extensive but has received only limited critical attention. Much of it is unpublished and has usually been neglected after its initial performance.<ref name= Maddocks>{{cite news|last= Maddocks|first= Fiona|title= Imogen Holst: Choral Works – review|url= https://www.theguardian.com/music/2012/aug/26/imogen-holst-choral-works-review|newspaper= The Observer|date= 26 August 2012|accessdate= 24 June 2016}}</ref><ref name= T448>Tinker, p. 448</ref>
{{Quote box|width=250px|bgcolor=#E0E6F8|align=left|quote= "In much of her life, [Imogen] Holst may have prioritized the needs of the famous male composers around her. But her choral works unabashedly celebrate the female." |salign = left |source= WQXR (New York public Radio) music review.<ref name= WQXR>{{cite web|title= Celebrating the Female: The Choral Works of Imogen Holst|url= http://www.wqxr.org/#!/story/241535-celebrating-female-choral-works-imogen-holst/|publisher= WQXR radio station (New York)|date= 8 October 2012|accessdate= 8 March 2014}}</ref>}}