Usuario:Piquito/Artigos en progreso: Diferenzas entre revisións

Contido eliminado Contido engadido
m Bot: Cambio o modelo: Lien web; cambios estética
Piquito (conversa | contribucións)
→‎Imogen Holst: Reciclo e retomo artigo pola Editona.
 
Liña 1:
= Imogen Holst =
{{Compositor
| bgcolour =
| nome = Imogen Holst
| imaxe =
| imaxetamaño =
| textoimaxe =
| nomecompleto = Imogen Clare Holst
| datadenacemento = [[12 de abril]] de [[1907]]
| lugardenacemento = [[Richmond, Londres|Richmond]], [[Surrey]] ([[Inglaterra]])<br/>{{GBR}}
| datadefalecemento = [[9 de marzo]] de [[1984]] {{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]]
| parella =
| fillos =
|imdb =
|sinatura =
}}
'''Imogen Clare Holst''' [[Orde do Imperio Británico|CBE]], nada o [[12 de abril]] de [[1907]] en [[Richmond, Londres|Richmond]], [[Surrey]] ([[Reino Unido]]) e finada o [[9 de marzo]] de [[1984)]] en [[Aldeburgh]], [[Suffolk]] ([[Reino Unido]], foi unha compositora, arranxista, directora de orquestra, profesora e administradora de festivais británica. Única filla do compositor británico [[Gustav Holst]], é especialmente coñecida polo seu traballo educativo no [[Dartington Hall]] na década de 1940, e polos seus 20 anos como directora artística adxunta do [[Festival de Aldeburgh]]. Amais de compoñer música, escribiu biografías de compositores, elaborou numeroso material didáctico, e varios libros sobre a vida e a obra de seu pai.
 
Dende moi nova, Imogen Holst mostrou un talento precoz na composición e a interpretación. Logo de asistir á [[Eothen School]] e á [[St Paul's Girls' School]], ingresou no [[Royal College of Music]], onde desenvolveu as súas habilidades como directora de orquestra e gañou varios premios de composición. Incapaz por motivos de saúde de seguir as súas ambicións iniciais de ser pianista ou bailarina, Imogen pasou a maior parte da década de 1930 ensinando, e como organizadora a tempo completo da [[English Folk Dance and Song Society]]. Estes deberes reduciron as súas actividades compositivas, aínda que fixo moitos arranxos de pezas populares. Logo de exercer como organizadora do [[Consello das Artes de Gran Bretaña|Counsello para o Fomento da Música e as Artes]] ao inicio da [[segunda guerra mundial]], en 1942 comezou a traballar en Dartington. Nos seus nove anos alí estableceu en Dartington como un centro importante de educación e actividade musical.
 
A principios da década de 1950 Imogen converteuse na asistente musical de [[Benjamin Britten]], trasladouse a Aldeburgh, e comezou a axudar coa organización do festival anual de Aldeburgh. En 1956 converteuse na directora artística do festival, e durante os seguintes 20 anos axudouno a acadar unha posición preeminente na vida musical británica. En 1964 renunciou como asistente de Britten, para retomar a súa propia carreira como compositora e concentrarse na preservación do legado musical de seu pai. A propia música de Imogen non é amplamente coñecida e recibiu pouca atención da crítica; boa parte dela é inédita e non se interpretou nunca. A primeira gravación adicada ás súas obras, realizada entre 2009 e 2012, foi calidamente recibida pola crítica. Foi nomeada CBE en 1975 e recibiu numerosos honores académicos. Morreu en Aldeburgh e está enterrada no seu camposanto.
 
== Antecedentes ==
=== Primeiros anos e familia ===
[[Ficheiro:House on The Terrace, Barnes - geograph.org.uk - 1309706.jpg|miniatura|dereita|arribaádereita|A casa na que a familia Holst viviu en [[Barnes, London|Barnes]] entre 1908 e 1913.]]
Imogen Holst naceu o 12 de abril de 1907 no número 31 de Grena Road, [[Richmond, Londres|Richmond]], unha cidade ribeireña ao oeste de Londres.<ref>Grogan and Strode, "Part I: 1907–31", p. 2</ref> Seus pais eran [[Gustav Holst|Gustav Theodore Holst]], un aspirante a compositor e que logo traballaría como profesor de música, e Isobel, de solteira Harrison. A familia Holst, de ascendencia sueca, alemá e letona, estaba en Inglaterra dende 1802 e foran músicos durante varias xeracións.{{refn|O apelido da familia foi "von Holst" ata que Gustav mudouno en 1918, durante a [[primeira guerra mundial]].<ref>{{London Gazette|issue=30928|startpage=11615|date=1 October 1918|}}</ref>|group= n}} Gustav seguiu esta tradición familiar; mentres estudaba no [[Royal College of Music]] (RCM) coñeceu Isobel Harrison, que cantaba nun dos coros afeccionados que el dirixía. Inmediatamente sentiuse atraído por ela, e casaron o 22 de xullo de 1901.<ref>Holst, p. 29</ref>
 
Mentres tentaba establecerse como compositor, Gustav Holst traballor primeiro como trombonista nunha orquestra, e logo como profesor. En 1907 ocupou postos docentes en [[James Allen's Girls' School]] en [[Dulwich]], e [[St Paul's Girls' School]] (SPGS) en [[Hammersmith]], onde foi director de música.<ref>{{Cita 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> Tamén ensinou en clases nocturnas no [[Morley College]], un centro de ensino para persoas adultas no distrito de [[Waterloo, Londres|Waterloo]] (Londres).<ref name=dnb>{{Cita 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> Pouco despois do nacemento de Imogen a familia trasladouse de Richmond a unha pequena casa ao lado do río na próxima [[Barnes, Londres|Barnes]], que alugaron a un familiar. Os principais recordos de Imogen desta casa eran de seu pai traballando no seu estudo do andar superior, ao que se lle prohibiu visitar, e dos seus esforzos por ensinarlle cancións populares.<ref name= GS2>Grogan and Strode, "Part I: 1907–31", pp. 2–3</ref>
 
=== Estudios ===
[[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>
 
En 1917 Imogen comezou a estudar en [[Eothen School|Eothen]], unha pequena escola privada para nenas en [[Caterham]],<ref>Gibbs, pp. 29–30</ref> onde [[Jane Joseph]], a alumna estrela de Holst no SPGS, ensinoulle música. Nunha carta á súa casa, datada o 17 de xullo de 1917, fala da "comprensión, e excelentes premios, e fresas e crema para o té".<ref>Grogan and Strode, "Part I: 1907–31", pp. 7–8</ref> Na escola, Imogen estudou piano con Eleanor Shuttleworth, violín con André Mangeot (descrito como "excelente") e teoría con Jane Joseph ("estupenda") "topping"). Baixo a tutela de Joseph Imogen realizou as súas primeiras composicións —tres pezas instrumentais e algunha melodía de vilancicos de Nadal— ás que numerou como Ops. 1, 2, 3 e 4.<ref>Grogan and Strode, "Part I: 1907–31", pp. 9–12</ref> No verán de 1920, compuxo e fixo a coreografía da "Dance of the Nymphs and Shepherds", que foi representada na escola baixo a súa dirección o 9 de xullo.<ref>Grogan and Strode, "Part I: 1907–31", p. 15</ref>{{refn|A música da danza "Nymphs and Shepherds" foi o Op. 4 de Imogen, orixinalmente titulada ''The Masque of the Tempest''.<ref>Tinker and Strode, p. 451.</ref>|group= n}}
 
Imogen deixou Eothen en decembro de 1920 coa esperanza de estudar con Ruby Ginner na Ginner-Mawer School of Dance and Drama,<ref>{{Cita 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> mais foi rexeitada porque probablemente carecía de resistencia para unha carreira na danza. Mentres estudaba na casa baixo unha gobernanta durante seis meses, no Pentecoste de 1921 participou como bailarina nunha produción da [[semiópera]] de [[Henry Purcell]] ''[[Dioclesian]]'', unha versión ideada en boa parte por 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>{{Cita publicación periódica|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>
 
En setembro de 1921 Imogen comezou a estudar na St Paul's Girls School. En xullo de 1922 interpretou un Preludio e Fuga de [[Johan Sebastian Bach|Bach]] ao piano, que Joseph alabou calidamente escribindo: "Creo que todo o mundo disfrutou do Bach dende o principio ata o final, todos aplaudiron ao seu final".<ref>Grogan and Strode, "Part I: 1907–31", pp. 18–20</ref> Os anos de Imogen na SPGS foron polo xeral ledos e exitosos. En xullo de 1923 gañou o Alice Lupton, un premio júnior para pianistas, mais súas posibilidades de distinción como pianista víronse afectadas cando comezou a desenvolver [[flebite]] no seu brazo esquerdo.<ref name= GS22>Grogan and Strode, "Part I: 1907–31", pp. 22–26</ref>{{refn|Nun tributo obituario, Ursula Vaughan Williams refírese ás condicións do brazo de Imogen como "herdada de seu pai".<ref name= Obit/> De feito, Gustav Holst padecía de neurite no seu brazo dereito, unha condición igualmente incapacitante pero non relacionada.<ref name= GS22/>|group= n}} Entre outras actividades, interesouse pola música folklórica e a danza, e en 1923 converteuse en membro da [[English Folk Dance and Song Society|English Folk Dance Society]] (EFDS). En 1924–25, o seu último ano na SPGS, Imogen fundou unha sociedade de danza folklórica na escola. Nun concerto escolar de fin de curso a finais de xullo de 1925, tocou o [[Étude Op. 10, No. 3 (Chopin)|Chopin's étude in E major]] e estreou a ''Toccata'' de Gustav Holst.<ref>Grogan and Strode, "Part I: 1907–31", pp. 29–32</ref>
 
==== Royal College of Music ====
[[Ficheiro:Royal College of Music - April 2007.jpg|miniatura|O Royal College of Music.]]
Aínda que destinada como seu pai ao RCM, Imogen primeiro pasou un ano estudando composición con [[Herbert Howells]] e piano con [[Adine O'Neill]], mentres por outra banda ocupouse coas actividades da EFDS.<ref>Grogan and Strode, "Part I: 1907–31", pp. 33–40</ref> Comezou no RCM en setembro de 1926, estudando piano con [[Kathleen Long]], composición con [[George Dyson (compositor)|George Dyson]], e dirección de orquestra con [[William Henry Reed|W. H. Reed]]. As súas aptitudes como directora foi evidente en decembro de 1926, cando dirixiu a Terceira Orquestra do conservatorio no primeiro movemento sa [[Sinfonía n.º 38 (Mozart)|Sinfonía "Praga"]] de [[Wolfgang Amadeus Mozart|Mozart]].<ref>Grogan and Strode, "Part I: 1907–31", pp. 41–42</ref> Esta e outras interpretacións no podio levaron a ''[[The Daily Telegraph]]'' a especular con que Imogen podería converterse na primeira muller en "establecer unha permanencia firme na plataforma do director".<ref>Grogan and Strode, "Part I: 1907–31", p. 46</ref>
No seu segundo ano no RCM Imogen concentrouse na composición, producindo varias obras de cámara, incluindo unha sonata para violín, un quinteto para óboe, e unha siute para madeiras. Deu os seus primeiros pasos cara á independencia persoal cando se trasladou da casa familiar a unha habitación próxima a [[Kensington Gardens]].<ref name= GS49>Grogan and Strode, "Part I: 1907–31", pp. 49–52</ref> En 1928 viaxou a Bélxica coa EFDS, tomou unhas vacacións en Italia, e fixo unha longa viaxe por Alemaña cun grupo coñecido como "The Travelling Morrice" que promoveu o entendemento internacional a través da música e a danza.<ref name= GS49/> En outubro de 1928 gañou o premio Cobbett do RCM por unha composición camerística orixinal, o seu cuarteto ''Phantasy'', e pouco despois gañou a Morley Scholarship para a "mellor estudante".<ref name="Strode p. 72">Grogan and Strode, "Part I: 1907–31", p. 72</ref> O cuarteto foi retransmitido pola BBC o 20 de marzo de 1929,<ref>Grogan and Strode, "Part I: 1907–31", p. 60</ref> mais para ela, o logro foi eclipsado polas noticias da morte prematura da súa mentora Jane Joseph ese mes.<ref>Gibbs, pp. 50–51</ref><ref>{{Cita 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>
 
No inverno de 1929 Imogen realizou a súa primeira visita ao Canadá e os Estados Unidos, como parte dunha celebración da EFDS.<ref>Grogan and Strode, "Part I: 1907–31", pp. 67–70</ref> De volta na casa, traballou na súa composición final para o RCM, unha suite para metais titulada ''The Unfortunate Traveller''.<ref name="Strode p. 72"/> A pesar de certa aprensión pola súa parte, a obra superou o escrutino dos examinadores e foi interpretada no concerto de final de curso do conservatorio en xullo.{{refn|En 1969, logo da morte de Isobel Holst, Imogen encontrou o manuscrito de ''The Unfortunate Traveller'' entre as posesións de súa nai. Para ela, a obra simbolizaba o que percibía como o seu fracaso como compositora, e insistiu en que se queimara o manuscrito.<ref>Grogan, "Part IV: 1955–84", p. 394</ref> |group= n}} Imogen obtivo o seu diploma [[ARCM]], e soubo tamén que lle concederan unha Octavia Travelling Scholarship que lle permitiría estudar composición no estranxeiro.<ref>Grogan and Strode, "Part I: 1907–31", pp. 74–76</ref>
 
== Carreira ==
=== Viaxes por Europa, 1930–31 ===
Imogen pasou a maior parte do período comprendido entre setembro de 1930 e maio de 1931 viaxando. A unha breve visita a [[Liexa]] en setembro seguiulle inmediatamente unha viaxe de tres meses por [[Escandinavia]], [[Alemaña]], [[Austria]] e [[Hungría]], regresando a Inglaterra vía [[Praga]], [[Dresde]], [[Leipzig]], [[Berlín]] e [[Amsterdam]]. A súa "orxía de experiencias musicais" incluíron unha peregrinación mozartiana a [[Salzburgo]], representacións de ''[[Der Rosenkavalier]]'' e ''[[Die Entführung aus dem Serail]]'' na [[Ópera Estatal de Viena]], Bach en Berlín e a [[Sinfonía n.º 7 (Mahler)|Sétima de Mahler]] en Amsterdam.<ref>Grogan and Strode, "Part II, 1931–52", pp. 79–90</ref> O 1 de febreiro de 1932 partiu de novo, desta vez a [[Italia]]. Logo dunha viaxe de dous meses Imogen regresou a casa con cunha visión mixta da música italiana. Ela concluíu que "os italianos son unha nación de cantantes&nbsp;... Mais a música é unha linguaxe diferente nesta parte do mundo". De volta en Londres, decidiu que a pesar das súas experiencias, "se é música o que un quere, non hai lugar coma Londres".<ref>Grogan and Strode, "Part II, 1931–52", pp. 91–93</ref><ref name= guardian>{{Cita novas|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 ===
[[Ficheiro:Cecil Sharp House-1.jpg|miniatura|esquerda|Cecil Sharp House, sede londinense da English Folk Dance and Song Society.]]
Cos seus fondos de bolsas de estudos esgotados, Imogen precisaba dun traballo, e en xuño de 1931 fíxose cargo da música no centro de artes e ensinanza Citizen House en [[Bath]].{{refn|A Citizen House fora fundada en 1916 por Helen Hope, como centro para o benestar social, a educación e as artes. Esta incluía un grupo de teatro os Citizen House Players, e finalmente un teatro con capacidade para 200 persoas.<ref>{{Cita 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}} Non lle gustaba a disciplina imposta por un superior antipático e inflexible, e só permaneceu alí uns poucos meses.<ref>Grogan and Strode, "Part II, 1931–52", pp. 97–99</ref> Logo traballou como directora independente e pianista acompañante antes de unirse ao persoal da EFDS a principios de 1932. A organización expandírase ata converterse na "English Folk Dance and Song Society" (EFDSS) e estaba localizada na súa nova sede en Cecil Sharp House.{{refn|A EFDSS creouse en marzo de 1932, logo de que a English Folk Dance Society, para a que Imogen traballara de xeito voluntario durante moitos anos, acordara fusionarse coa English Folk Song Society.<ref>Grogan and Strode, "Part II, 1931–52", p. 100</ref><ref>{{Cita publicación periódica|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}} Os deberes, principalmente a ensinanza, non eran a tempo completo, e puido coller traballos a tempo parcial ensinando na súa antiga escola, Eothen, e en [[Roedean School]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 109–12</ref> Aínda que compuxo pouca música orixinal durante eses anos, realizou moitos arranxos instrumentais e vocais de melodías folclóricas tradicionais.<ref name= IHM>{{Cita publicación periódica|last= Tinker|first= Christopher|title= Imogen Holst's Music 1962–64| jstor= 945906|journal= Tempo (New Series)|issue= 166|pages=22–27}} {{subscription}}</ref>
 
A saúde de Gustav Holst fora pobre durante anos; no inverno de 1933-34 deteriorouse, e morreu o [[25 de maio]] de [[1934]]. Imogen determiou en privado que protexería o legado musical de seu pai, e comezou a traballar na súa biografía. Mentres tanto a súa propia música comezou a chamar a atención. O seu arranxo do vilancico "Nowell and Nowell" foi interpretado nun concerto de Nadal en 1934 na [[catedral de Chichester]], e o ano seguinte viu a estrea do seu concerto para violín e cordas, con Elsie Avril como solista e a propia Imogen dirixindo a [[Orquestra Filharmónica de Londres]].<ref name= GS114>Grogan and Strode, "Part II, 1931–52", pp. 114–18</ref> En 1936 fixo unha visita a [[Hollywood]], onde se quedou co seu tío (o irmán de Gustav), o actor [[Ernest Cossart]]. Un punto culminante desta visita foi un concerto de [[Richard Wagner|Wagner]] no [[Hollywood Bowl]], dirixido por [[Otto Klemperer]].<ref>Grogan and Strode, "Part II, 1931–52", pp. 118–20</ref> De volta en Inglaterra, Imogen traballou en arranxos para frauta de bico do descoidado compositor do [[século XVI]] [[Pelham Humphrey]]. Estes foron publicados en 1936 cunha entusiasta recepción da crítica. A biografía de seu pai foi publicada en 1938;<ref>Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref> entre numerosos homenaxes, o compositor [[Edmund Rubbra]] eloxiouna por ter feito un libro que non estaba "nublado polo sentimento&nbsp;... a súa biografía é á vez íntima e obxectiva".<ref>Edmund Rubbra in ''Monthly Musical Record'', November 1938, quoted in Grogan and Strode, "Part II, 1931–52", pp. 124–25</ref>
 
=== Guerra: viaxando para o CEMA ===
[[Ficheiro:The Ballet Rambert Visiting An Aircraft Factory in Britain TR969.jpg|miniatura|Un concerto do CEMA durante a segunda guerra mundial (unha representación de ''[[Petia i volk]]'' de [[Sergei Prokofev|Prokofev]] polo [[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>
 
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>{{Cita 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}}
 
Con pouco apoio práctico do CEMA, os talentos organizativos de Imogen, segundo a súa amiga [[Ursula Vaughan Williams]], "desenvolvéronse de xeito brillante".<ref name= Obit>{{Cita publicación periódica|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> De acordo cos relatos de Imogen, os seus deberes incluían dirixir bandas locais, dirixir ensaios de himnos cantados ("catorce mulleres moi vellas con sombreiros sentadas ao redor do bordo dunha escura, vacía caseta de folla de lata"), e organizar cantos para nenos evacuados. Organizou actuacións de grupos profesionais, e o que ela chamou festivais "drop-in-and-sing" nos que calquera podía participar. Imogne tamén escribe sobre os "días idílicos" que pasou sobre tazas de té, debatindo as esperanzas e soños dos aspirantes a creadores musicais.<ref>Imogen Holst essay, first published in ''Making Music'', October 1946, reproduced in Grogan and Strode, "Part II: 1931–52", pp. 129–32</ref> A súa actividade compositiva durante eses anos estivo limitada polo tempo e as presións do traballo, mais produciu dous tríos para frauta de bico —as suites ''Offley'' e ''Deddington''— e realizou numerosos arranxos de vilancicos e cancións tradicionais para coro feminino.<ref name= TS454>Tinker and Strode, pp. 454–55</ref> No verán de 1942 a carga de traballo e a burocracia concomitante era tal que estaba esgotada, e precisaba dun longo descanso.<ref>Grogan and Strode, "Part II: 1931–52", pp. 136–37</ref>
 
=== Dartington ===
[[Ficheiro:Main Hall entrance Dartington.jpg|miniatura|esquerda|O edificio principal de 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>
 
In the conducive atmosphere of Dartington Imogen resumed serious composition, largely abandoned during the hectic CEMA years. In 1943 she completed a ''Serenade'' for flute, viola and bassoon, a ''Suite for String Orchestra'', and a choral work, ''Three Psalms''. All these works were performed at a [[Wigmore Hall]] concert on 14 June 1943 devoted to her music. Other compositions from the Dartington years included ''Theme and Variations'' for solo violin, String Trio No. 1 (premiered by the Dartington Hall String Trio at the [[National Gallery]] on 17 July 1944), songs from the 16th-century anthology [[Tottel's Miscellany]], an oboe concerto, and a string quartet.<ref name= TS454/><ref>Grogan and Strode, "Part II, 1931–52", pp. 141–42</ref> In October 1943 the composer [[Benjamin Britten]] and the tenor [[Peter Pears]] gave the first of several recitals at Dartington. A mutual respect and friendship developed between Britten and Imogen, strengthened by their shared love of neglected music from the [[Renaissance music|Renaissance]] and [[Baroque music|Baroque]] eras.<ref>Grogan and Strode, "Part II, 1931–52", pp. 150–51</ref>
 
From 1945, while maintaining her commitment to Dartington, Imogen began to widen her musical activities. As well as editing and preparing scores for Britten, she promoted Dartington as the base for Britten's new [[English Opera Group]], although eventually [[Glyndebourne]] was preferred.<ref>Carpenter, pp. 226 and 236</ref> In 1947 she encouraged the refugee violinist [[Norbert Brainin]] to form his own string quartet,<ref name= GS146/> and arranged its debut at Dartington, as the "Brainin Quartet", on 13 July 1947. Six months later, renamed the [[Amadeus Quartet]], the group appeared at the Wigmore Hall, and went on to worldwide recognition.<ref>{{Cita web|last= Potter|first= Tully|title= Amadeus Quartet|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/00724?q=Norbert+Brainin&search=quick&pos=3&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 19 February 2014}} {{subscription}}</ref> In 1948 she began work on a critical study of her father's music, a companion volume to her 1938 Holst biography.<ref>Grogan and Strode, "Part II, 1931–52", p. 151</ref> When this was published in 1951, most critics praised its objectivity, one critic venturing that she had been "unnecessarily harsh" in her judgements.<ref name= GS162>Grogan and Strode, "Part II, 1931–52", pp. 162–65</ref>
 
Rising standards of achievement at Dartington enabled Imogen to organise performances of more demanding works, such as Bach's [[Mass in B minor]] in July 1950 to honour the 200th anniversary of Bach's death. Three years in preparation, this endeavour brought a tribute from one of the audience: "I don't know, and can't imagine what the music of heaven is like. But when we all get there, please God, if any conducting is still necessary I hope your services will be required and that I will be in the chorus".<ref name= GS146>Grogan and Strode, "Part II, 1931–52", pp. 146–48</ref> By the middle of 1950 Imogen's professional focus was changing. She had attended the first two [[Aldeburgh Festival]]s in 1948 and 1949, and in 1950 accepted a commission to provide a choral work for performance at the 1951 festival.<ref>Grogan and Strode, "Part II, 1931–52", pp. 155–57. The work was the song cycle for female voices and harp, ''Welcome Joy and Welcome Sorrow''.</ref> Sensing that it was time to leave Dartington, she gave a year's notice, part of which was spent on sabbatical, studying Indian music at [[Rabindranath Tagore]]'s university in West Bengal.<ref name= odnbI/> A fruit of this visit was her ''Ten Indian Folk Tunes'' for recorder.<ref name= T436>Tinker, p. 436</ref> On 21 July 1951 her one-act opera, ''Benedick and Beatrice'', was performed at Dartington, to mark her departure.<ref name= GS162/>
 
=== Aldeburgh ===
Without definite plans for her future after Dartington, Imogen toured Europe, collecting music that she would later edit for performance, including madrigals by [[Carlo Gesualdo]] which she found "very exciting".<ref name= GS167/> At home, although not formally employed by Britten, she worked with him on several projects, including a new performing version of Purcell's ''[[Dido and Aeneas]]''<ref>Bridcut, pp. 72–73</ref> and the preparation of the vocal and full scores for Britten's opera ''[[Billy Budd (opera)|Billy Budd]]''.<ref name= GS167>Grogan and Strode, "Part II: 1931–1952", pp. 167–70</ref> Pears, who had observed Imogen's overall contributions to musical life at Dartington, believed she could help Britten and the Aldeburgh Festival on a more formal basis, and shortly after the 1952 festival Britten invited her to come and work with him. She agreed, and in September 1952 moved to lodgings in Aldeburgh.<ref>Carpenter, p. 309</ref>
 
==== Assistant to Britten ====
[[Ficheiro:Benjamin Britten, London Records 1968 publicity photo for Wikipedia.jpg|miniatura|arribaádereita|Benjamin Britten, photographed in the mid-1960s]]
When Imogen joined Britten, the financial arrangement was vague; Britten paid her on a piecemeal basis rather than a regular salary, unaware that she had made over her rights to her father's estate to her mother and had little money of her own. As a result, she lived very frugally in Aldeburgh, but her commitment to Britten overrode her own physical comfort.<ref>Carpenter, p. 311</ref> For the next dozen years her life was organised around the joint objectives of assisting Britten and developing the Aldeburgh Festival. Although she temporarily put her own compositional ambitions aside,<ref name="Grogan p. 176">Grogan, "Part III: 1952–54", p. 176</ref> she did not abandon all other activities. She made many choral and vocal arrangements, promoted her father's music, and wrote books, articles and programme notes.{{refn|Books written by Imogen Holst in this period include ''The Book of the Dolmetsch Descant Recorder'' (1957);<ref name="T436"/> ''Tune'' (1961);<ref>Grogan, "Part IV: 1955–84", pp. 364–65</ref> and ''An ABC of Music'' (1963).<ref>Grogan, "Part IV: 1955–84", p. 374</ref>|group= n}}
 
For the first 18 months of her association with Britten, Imogen kept a diary which, Grogan says, forms a record of her "unconditional belief in Britten's achievement and status, and her absolute devotion to his work".<ref name="Grogan p. 176"/> The first of Britten's works to which she made a significant contribution was the opera ''[[Gloriana]]'', scheduled to form part of the [[Coronation of Queen Elizabeth II|1953 Coronation celebrations]]. The short timescale for the writing of the opera placed considerable pressure on the composer and his new assistant,<ref name= C306>Carpenter, pp. 306–09</ref> strains that were dramatised 60 years later in a radio play, ''Imo and Ben''.{{refn|The play, by Mark Ravenhill, was broadcast on 30 June 2013.<ref>{{Cita novas|last= Rees|first= Jasper|title= Imo and Ben: a new radio drama that shows the tensions in Benjamin Britten's working life|url= http://www.telegraph.co.uk/culture/tvandradio/10143079/Imo-and-Ben-a-new-radio-drama-that-shows-the-tensions-in-Benjamin-Brittens-working-life.html|newspaper= The Telegraph |date= 28 June 2013|accessdate= 24 June 2016}}</ref>|group= n}} Imogen's main task with ''Gloriana'' was to copy Britten's pencil sketches and prepare the vocal and piano scores which the singers needed for rehearsals by February 1953.<ref name= C306/><ref>White, p. 79</ref> Later she assisted him with the writing of the full orchestral score,<ref>Carpenter, p. 317</ref> and performed similar services with his next opera, ''[[The Turn of the Screw (opera)|The Turn of the Screw]]'' (1954).<ref>Grogan, "Part IV: 1955–84", pp. 334–35</ref> When Britten was under pressure during the composition of his ballet ''The Prince of the Pagodas'' (1956), Imogen accompanied him to Switzerland, to remain by his side as he completed the work.<ref>Grogan, "Part IV: 1955–84", pp. 348–49</ref>{{refn|Britten dedicated the ballet jointly to Imogen and [[Ninette de Valois]].<ref>White, p. 82</ref>|group= n}} Imogen took great pleasure in her association with Britten's opera for children, ''[[Noye's Fludde]]'' (1957), for which she showed Britten how to achieve a unique raindrop effect by hitting a row of china mugs with a wooden spoon.<ref>Carpenter, p. 382</ref> She and Britten combined to collect and publish music for the recorder, in a series published by Boosey and Hawkes (1954–59),<ref name= T436/> and jointly wrote a popular introductory book, ''The Story of Music'' (1958).<ref>White, p. 86</ref>
 
Imogen assisted Britten with all his major compositions until 1964.<ref>Grogan, "Part IV: 1955–84", pp. 361–73</ref> At that point, conscious of time passing, she determined to give priority to the final securing of her father's musical legacy, and to re-establish her credentials as a composer. She relinquished her post as Britten's assistant to Rosamund Strode, although she did not leave Aldeburgh or break with Britten, continuing her work with the Aldeburgh Festival for a further 13 years.<ref>Grogan, "Part IV: 1955–84", pp. 374–75</ref>
 
==== Artistic director ====
From the time of her arrival in Aldeburgh Imogen gave considerable support and assistance to the Aldeburgh Festival, as a conductor and, from 1953, increasingly as a planner and organiser.<ref>Grogan, "Part III: 1952–54", p. 157</ref> In 1956 her position was formalised, and she joined Britten and Pears as one of the festival's artistic directors, taking responsibility for programmes and performers.<ref name= G336>Grogan, "Part IV: 1955–84", p. 336</ref> At the 1956 festival she fulfilled a long-held ambition by arranging a performance of Gustav Holst's opera ''[[Savitri (opera)|Savitri]]'',<ref name= G345>Grogan, "Part IV: 1955–84", p. 345</ref> the first of several Holst works that she introduced to the festival.{{refn|In 1961 Imogen persuaded Britten to conduct Gustav Holst's tone-poem ''[[Egdon Heath (Holst)|Egdon Heath]]'', and the following year saw a performance of ''Ode to Death''.<ref>Grogan, "Part IV: 1955–84", pp. 366–67</ref> |group= n}} ''Savitri'' was offered as part of a double bill that included Imogen's arrangement of [[John Blow]]'s 17th century opera ''[[Venus and Adonis (opera)|Venus and Adonis]]''.<ref name= G345/><ref>Carpenter, p. 369</ref> In 1957 she instituted late-night concerts devoted to early music, and in 1962 she organised a series of evening concerts of [[Flemish music#Classical music|Flemish music]], in which she had more recently become interested.<ref>Grogan, "Part IV: 1955–84", pp. 352 and 367–68</ref> She also devised frequent programmes devoted to church music, for performance at Aldeburgh parish church.<ref>White, p. 65</ref> Since moving to Aldeburgh in 1952, Imogen had lived in a series of lodgings and rented flats. In 1962 she moved to a small contemporary bungalow built for her in Church Walk, where she lived for the rest of her life.{{refn|The house was built on the edge of the site where it had been hoped to build a Festival Theatre. When that plan was abandoned in favour of a move to [[Snape Maltings]], the bungalow was built anyway by the architect H. T. Cadbury-Brown, who allowed Imogen to live there rent-free.<ref>Grogan, "Part IV: 1955–84", p. 369</ref>|group= n}}
 
In 1964, after giving up her role as Britten's assistant, Imogen began composing again, and in 1965 accepted commissions for two large-scale works: ''The Sun's Journey'', a cantata for female voices, and the ''Trianon Suite'', composed for the Trianon Youth Orchestra of [[Ipswich]].<ref>Grogan, "Part IV: 1955–84", p. 384</ref> In 1965 and 1966 she published two books, studies of Bach and Britten. The latter work caused ill feelings among several key figures in Britten's earlier career with whom he had subsequently fallen out, such as his former librettists [[Eric Crozier]] and [[Ronald Duncan]], whose contributions to Britten's success were ignored in the book.<ref name= Carpenter468>Carpenter, pp. 468–69</ref><ref>Grogan, "Part IV: 1955–84", pp. 382 and 387</ref> Between 1966 and 1970 Imogen recorded a number of her father's works with the Purcell Singers and the [[English Chamber Orchestra]], under the Argo and Lyrita labels.<ref>{{Cita web|last= Stuart|first= Philip|title= Decca Classical 1929–2009|url= http://images.cch.kcl.ac.uk/charm/liv/pubs/DeccaComplete.pdf|publisher= AHRC Research Centre for the History and Analysis of Recorded Music|date= June 2009|accessdate= 21 March 2014}} (Items 1383, 1395, 1419, 1518 and 1688)</ref><ref>{{Cita web|title= Holst: Vocal Works|url= http://www.prestoclassical.co.uk/r/Australian%2BEloquence/ELQ4802327|publisher= Presto Classical|accessdate= 17 February 2014}}</ref><ref>{{Cita web|title= Holst: Vocal Works|url= http://www.prestoclassical.co.uk/r/Australian%2BEloquence/ELQ4802327|publisher= Presto Classical|accessdate= 17 February 2014}}</ref> Among these recordings was the ''Double Violin Concerto'' for which, forty years earlier, she had acted as the rehearsal pianist before the first performance.<ref>Grogan, "Part IV: 1955–84", pp. 388 and 399</ref>
[[Ficheiro:Snape Maltings.jpg|miniatura|esquerda|The concert hall at Snape Maltings, home of the Aldeburgh Festival from 1967]]
 
Imogen had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears.<ref>Grogan, "Part III, 1952–54", pp. 188</ref><ref name= Grogan317>Grogan, "Part III, 1952–54", p. 317</ref> From 1954 the choir became regular performers at the Aldeburgh Festival, with programmes ranging from rarely heard medieval music to 20th-century works.<ref name= odnbI>{{Cita web|last= Strode|first= Rosamund|title= Holst, Imogen Clare|url= http://www.oxforddnb.com/view/article/31251|work=Oxford Dictionary of National Biography|publisher=Oxford University Press|accessdate= 17 February 2014}} {{ODNBsub}}</ref><ref>{{Cita web|last= Tinker|first= Christopher|title= Holst, Imogen Clare|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/13254?q=Imogen+Holst&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 17 February 2014}} {{subscription}}</ref> Among choir members who later achieved individual distinction were the bass-baritone [[John Shirley-Quirk]], the tenors [[Robert Tear]] and [[Philip Langridge]], and the founder and conductor of the Heinrich Schütz Choir, [[Roger Norrington]].<ref>Grogan , "Part IV, 1955–84", pp. 371–72</ref><ref>{{Cita web|last= Pratt|first= George|title= Norrington, Sir Roger Arthur Carver|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/20079?q=Roger+Norrington&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music online|work= Grove Music Online|accessdate= 17 February 2014}} {{subscription}}</ref> Langridge remembered with particular pleasure a performance in [[Orford, Suffolk|Orford]] church of [[Thomas Tallis]]'s forty-part motet ''[[Spem in alium]]'', on 2 July 1963.<ref>Wake-Walker, p. 190</ref> When she gave up the conductorship of the choir in 1967, much of its musical mission, in particular its commitment to early music, was assumed by other groups, such as Norrington's Schütz Choir and the Purcell Consort formed by the ex-Purcell Singers chorister [[Grayston Burgess]].<ref>Grogan, "Part IV, 1955–84", pp. 389–90</ref>
 
On 2 June 1967 Imogen shared the podium with Britten in the concert inaugurating the Aldeburgh Festival's new home at the [[Snape Maltings]].{{refn|In 1969, just after the opening concert of that year's festival, the Maltings was destroyed by fire; it was rebuilt in time for the 1970 festival.<ref name= festival>{{Cita web|last= Goodwin|first= Noel|title= Aldeburgh Festival|url= http://www.oxfordmusiconline.com/subscriber/article/grove/music/00500?q=Aldeburgh+Festival&search=quick&pos=1&_start=1#firsthit|publisher= Oxford Music Online|work= Grove Music Online|accessdate= 1 March 2014}} {{subscription}}</ref>|group= n}} From 1972 Imogen was involved with the development of educational classes at the Maltings, which began with weekend singing classes and developed into the [[Britten-Pears School for Advanced Musical Studies]], with its own training orchestra.<ref name= festival/> By this time Imogen's performances at the festival had become increasingly rare, but in 1975 she conducted a concert of Gustav Holst's brass band music, held outdoors at [[Framlingham Castle]]. A report of the event described an evening of "persistent drizzle&nbsp;... until a diminutive figure in a special scarlet dress took the conductor's baton. The band was transformed, and played Holst's Suite as it has never been played before".<ref>Wake-Walker, p. 193</ref>
 
Britten had been in poor health since undergoing heart surgery in 1973, and on 4 December 1976 he died.<ref>Carpenter, pp. 549 and 585</ref> Imogen was unsure that she could maintain a working relationship with Pears alone, and on reaching the age of 70 decided she would retire as artistic director after the 1977 festival. That year she made her final festival appearance as a performer when she stood in for the indisposed conductor [[André Previn]] at the Snape Maltings Training Orchestra's inaugural festival concert. On retirement, she accepted the honorary title of Artistic Director Emeritus.<ref>Grogan, "Part IV: 1955–84", pp. 414–16</ref>
 
== Later career ==
 
Gustav Holst's centenary was celebrated in 1974, when Imogen published a revised biography in Faber's "Great Composers" series and a ''Thematic Catalogue of Gustav Holst's Music''.<ref name= G406>Grogan, "Part IV: 1955–84", pp. 406–07</ref> The centenary was the occasion for the publication of the first volume of a facsimile edition of her father's manuscripts, on which Imogen worked with the help of the composer [[Colin Matthews]].<ref>Grogan, "Part IV: 1955–84", pp. 404 and 410</ref> Three more facsimile volumes followed in the years up to 1983, at which point Imogen's own failing health led to the abandonment of the project.<ref>Grogan, "Part IV: 1955–84", pp. 419–20 and 429</ref> As part of the 1974 centenary, Imogen negotiated performances of ''Savitri'' and ''[[The Wandering Scholar]]'' at Aldeburgh and [[Sadler's Wells]], and helped to arrange exhibitions of Holst's life and works at Aldeburgh and the [[Royal Festival Hall]].<ref name= G406/>
 
Apart from her books concerned with her father's life and works, Imogen continued to write on other aspects of music. In addition to numerous articles she published a short study of the Renaissance composer [[William Byrd]] (1972)<ref>{{Cita web|title= Byrd (Great Composers)|url= http://www.worldcat.org/title/byrd/oclc/447770 |publisher=WorldCat|accessdate= 24 June 2016}}</ref> and a handbook for conductors of amateur choirs (1973).<ref>{{Cita web|title= Conducting a Choir: a guide for amateurs|url= http://www.worldcat.org/search?q=Conducting+a+choir+Imogen+Holst&qt=owc_search |publisher= WorldCat|accessdate= 24 June 2016}}</ref> She continued to compose, usually short pieces but with occasional larger-scale orchestral works such as the ''Woodbridge Suite'' (1970) and the ''Deben Calendar'' (1977), the latter a series of twelve sketches depicting the River Deben in Suffolk at different phases of the year.<ref>Grogan, "Part IV: 1955–84", pp. 396 and 419</ref> Her last major composition was a String Quintet, written in 1982 and performed in October of that year by the [[Endellion Quartet]], augmented by the cellist [[Steven Isserlis]].<ref name= G425/>
 
In April 1979 Imogen was present when the [[Queen Elizabeth The Queen Mother|Queen Mother]] opened the new Britten–Pears School building in Snape. The building included a new library—the Gustav Holst Library—to which Imogen had donated a large amount of material, including books which her father had used in his own teaching career.<ref>Grogan, "Part IV: 1955–84", p. 422</ref> She had intended that, after 1977, her retirement from the Aldeburgh Festival would be total, but she made an exception in 1980 when she organised a 70th birthday celebration concert for Pears.<ref name= G425>Grogan, "Part IV: 1955–84", p. 425</ref>
 
== Death ==
Shortly after the 1977 Aldeburgh Festival, Imogen became seriously ill with what she described as "a coronary angina".<ref>Grogan, "Part IV: 1955–84", pp. 418–19</ref> Thereafter, [[angina]] was a recurrent problem, although she continued to work and fulfill engagements. By early 1984 the deterioration in her health was noticeable to her friends. She died at home of heart failure on 9 March 1984 and was buried in [[St Peter and St Paul's Church, Aldeburgh|Aldeburgh churchyard]] five days later in a plot next to Britten's.<ref>Grogan, "Part IV: 1955–84", pp. 427–30</ref> An obituary tribute in the magazine ''Early Music'' emphasized her long association with music in the Aldeburgh church, where she "[brought] iridescently to life facets of that tradition to which her own life had been dedicated and which she presented as a continuing source of strength and wonder".<ref>{{Cita publicación periódica|last= Thomson|first= John|title= Imogen Holst|journal= Early Music|volume= 12|issue= 4|date= November 1984|pages=583–84|doi=10.1093/earlyj/12.4.583}}</ref> Ursula Vaughan Williams wrote: "Imogen had something of the medieval scholar about her&nbsp;... content with few creature comforts if there was enough music, enough work, enough books to fill her days. Indeed, she always filled her days, making twenty-four hours contain what most of us need twice that time to do".<ref name= Obit/>
 
In 2007, Imogen's centenary was recognized at Aldeburgh by several special events, including a recital in the parish church by the Navarra Quartet in which works by Purcell and Schubert were mixed with Imogen's own ''The Fall of the Leaf'' for solo cello, and the String Quintet. The latter work was described by Andrew Clements in ''The Guardian'' as "genuinely memorable&nbsp;... The set of variations with which the quintet ends dissolves into a series of bare solo lines, linking Holst's music to her father's".<ref>{{Cita novas|last= Clements|first= Andrew|title= A Celebration of Imogen Holst|url= https://www.theguardian.com/music/2007/oct/23/classicalmusicandopera|newspaper= The Guardian|date= 23 October 2007|accessdate= 24 June 2016}}</ref>
 
Imogen never married, though she enjoyed a number of romantic friendships, notably with the future poet Miles Tomalin, whom she met when she was a pupil at St Pauls.<ref>Grogan and Strode, "Part I: 1907–31", pp. 27–28</ref> The two were close until 1929, and exchanged poetry;<ref>Grogan and Strode, "Part I: 1907–31", pp. 57–65</ref> Tomalin married in 1931.<ref name= GS66>Grogan and Strode, "Part I: 1907–31", p. 66</ref> Many years after the relationship ended, Imogen admitted to Britten that she would have married Tomalin.<ref name= GS66/>
 
=== Honours ===
Imogen was made a Fellow of the Royal College of Music in 1966. She was awarded [[Honorary degree|honorary doctorates]] from the universities of [[University of Essex|Essex]] (1968), [[University of Exeter|Exeter]] (1969), and [[University of Leeds|Leeds]] (1983). She was given honorary membership of the [[Royal Academy of Music]] in 1970. In 1975 she was appointed a [[Order of the British Empire|Companion of the Order of the British Empire]] (CBE).<ref name= odnbI/>
 
== Music ==
{{AP|Lista de composicións de 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>{{Cita novas|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>{{Cita novas|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>{{Cita 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>}}
The oeuvre comprises instrumental, vocal, orchestral and choral music. Early in her compositional career Imogen was primarily influenced, as Gustav Holst's daughter, by what the analyst Christopher Tinker terms "her natural and inescapable relationship with the English musical establishment", and by her close personal relationship with her father.<ref name= T434/> Some of her first compositions reflect the pastoralism of [[Ralph Vaughan Williams]], who taught her at the RCM.<ref name= T444>Tinker, pp. 444–45</ref> In her teaching and EFDSS years during the 1930s she became known for her folksong arrangements but composed little music herself.<ref name= IHM/> The personal style that emerged in the 1940s incorporated her affinity with folksong and dance, her intense interest in English music of the 16th and 17th centuries, and her taste for innovation. In her 1930 suite for solo viola, she had begun experimenting with scale patterns; by the 1940s she was incorporating her own six- and eight-note scales into her chamber music and occasionally into choral works such as the ''Five Songs'' (1944).<ref name= IHM/><ref name= T444/> This experimentation reappears in later works; in ''Hallo My Fancy'' (1972) a new scale is introduced for each verse, while the choir provides free harmonisation to a solo voice.<ref name= IHM/> In ''Homage to William Morris'' (1984), among her final works, Tinker notes her use of [[Consonance and dissonance|dissonance]] "to add strength to the musical articulation of the text".<ref>Tinker, p. 443</ref> By contrast, the String Quintet of 1982, the work which Imogen herself thought made her "a real composer", is characterised by the warmth of its harmonies.<ref name= IHM/><ref name= T448/>
 
Much of Imogen's choral music was written for amateur performance. Critics have observed a clear distinction in quality between these pieces and the choral works written for professional choirs, particularly those for women's voices. These latter pieces, says Tinker, incorporate her best work as an original composer.<ref>Tinker, p. 440</ref> Record companies were slow in recognising Imogen's commercial potential, and not until 2009 was a CD issued devoted entirely to her music—a selection of her works for strings. The ''Guardian''{{'}}s reviewer welcomed the recording: "[T]here is a great deal of English music of far less worth that is frequently praised to the skies".<ref>{{Cita novas|last= Clements|first= Andrew|title= Imogen Holst: String Chamber Music: Court Lane Music|url= https://www.theguardian.com/music/2009/jan/30/imogen-holst-string-chamber-music|newspaper= The Guardian|date= 30 January 2009|accessdate= 24 June 2016}}</ref> In 2012 a selection of her choral music, sung by the [[Clare College, Cambridge|Clare College]] Choir, was recorded by Harmonia Mundi.<ref>{{Cita web|title= Imogen Holst: Choral Works|url= http://www.prestoclassical.co.uk/r/Harmonia%2BMundi/HMU907576|publisher= Presto Classical|accessdate= 8 March 2014}}</ref> One review of this recording picks out ''Welcome Joy and Welcome Sorrow'', written for female voices with harp accompaniment, as "[giving] an insight into her own, softly nuanced, pioneering voice".<ref name= Maddocks/> Another mentions the "Three Psalms" setting, where "inner rhythms are underscored by the subtle string ostinatos pulsing beneath".<ref name= indy/>
 
== Published texts ==
Publication details refer to the book's first UK publication.
* {{Cita libro|title= Gustav Holst: A biography|publisher= Oxford University Press|location= London|year= 1938|oclc= 852118145}} (revised edition 1969)
* {{Cita libro|title= The Music of Gustav Holst|publisher= Oxford University Press|location= London|year= 1951|oclc= 881989}} (revised editions 1968 and 1985, the latter with ''Holst's Music Reconsidered'' added)
* {{Cita libro|title= The Book of the Dolmetsch Descant Recorder|publisher= Boosey & Hawkes|location= London|year= 1957|oclc= 221221906}}
* {{Cita libro|title= The Story of Music ''("The Wonderful World" series)''|publisher= Rathbone|location= London|oclc= 2182017}} (co-author with Benjamin Britten)
* {{Cita libro|title= Heirs and Rebels: Letters Written to Each Other, and Occasional Writings on Music, by Ralph Vaughan Williams and Gustav Holst|location= London|publisher= Oxford University Press|year= 1959|oclc= 337514}} (co-editor with Ursula Vaughan Williams):
* {{Cita libro|title= Henry Purcell, 1659–1695: Essays on his Music|publisher= Oxford University Press|location= London|year= 1959|oclc= 602569}} (editor)
* {{Cita libro|title= Henry Purcell: the Story of his Life and Work|publisher= Boosey & Hawkes|location= London|year= 1961|oclc= 1200203}}
* {{Cita libro|title= Tune|publisher= Faber & Faber|location= London|year= 1962|oclc= 843455729}}
* {{Cita libro|title= An ABC of Music: a Short Practical Guide to the Basic Essentials of Rudiments, Harmony, and Form|publisher= Oxford University Press|location= Oxford|year= 1963|isbn= 0-19-317103-1}}
* {{Cita libro|title= Your Book of Music|publisher= Faber & Faber|location= London|year= 1964|oclc= 170598}}
* {{Cita libro|title= Bach ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1965|oclc= 748710834}}
* {{Cita libro|title= Britten ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1966|oclc= 243904447}}
* {{Cita libro|title= Byrd ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1972|isbn= 0-571-09813-4}}
* {{Cita libro|title= Conducting a Choir: a Guide for Amateurs|publisher= Oxford University Press|location= London|year= 1973|isbn= 0-19-313407-1}}
* {{Cita libro|title= Holst ''("Great Composers" series)''|publisher= Faber & Faber|location= London|year= 1974|isbn= 0-571-09967-X}} (second edition 1981)
* {{Cita libro|title= A Thematic Catalogue of Gustav Holst's Music|publisher= Faber Music, in conjunction with G & I Holst Ltd|location= London|year= 1974|isbn= 0-571-10004-X}}
 
Imogen Holst also wrote numerous articles, pamphlets, essays, introductions and programme notes during the period 1935–1984.{{refn|A partial list of articles and programme notes by Imogon Holst is included in the bibliography, pp. 464–65 within {{Cita libro|last= Grogan| first= Christopher| title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}} |group= n}}
 
== References ==
'''Notes'''
{{Reflist|30em|group=n}}
'''Citations'''
{{Listaref|30em}}
'''Sources'''
* {{Cita libro|last= Bridcut|first= John|title= The Faber Pocket Guide to Britten|url= https://books.google.com/books?id=dkmeJ4LiuBoC&pg=PA55 |publisher= Faber & Faber|location= London|year= 2010|isbn= 978-0-571-23776-0}}
* {{Cita libro|last= Carpenter|first= Humphrey|title= Benjamin Britten: A biography|publisher= Faber and Faber|location= London|year= 1992|isbn= 0-571-14324-5}}
* {{Cita libro|last1= Cox|last2= Dobbs|first1= Peter|first2= Jack|title= Imogen Holst at Dartington|publisher= Dartington Press|location= Dartington|year= 1988|isbn= 0-902386-13-1}}
* {{Cita libro | last= Gibbs | first= Alan | title= Holst Among Friends |chapter= Chapter II: Jane Joseph| publisher= Thames Publishing |year= 2000 | location= London | isbn= 978-0-905210-59-9}}
* {{Cita libro|last1=Grogan|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Part I: 1907–31|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro|last1=Grogan|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Part II: 1931–52|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro|last=Grogan| first = Christopher| chapter= Part III: 1952–54|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro|last =Grogan| first = Christopher|chapter= Part IV: 1955–84|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro | last= Holst | first= Imogen | year= 1969|edition= second| title= Gustav Holst| location= London and New York | publisher= Oxford University Press | isbn= 0-19-315417-X}}
* {{Cita libro|last= Tinker| first = Christopher| chapter= Part V: The Music of Imogen Holst|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro|last1=Tinker|last2= Strode|first1= Christopher|first2= Rosamund|chapter= Chronological list of works|title= Imogen Holst: A Life in Music|publisher= The Boydell Press|edition= revised|location= Woodbridge, Suffolk|year= 2010|isbn= 978-1-84383-599-8}}
* {{Cita libro|last= Wake-Walker|first= Jenni (compiler)|title= Time and Concord: Aldeburgh Festival Recollections|publisher= Autograph Books|location= Saxmundham, Suffolk|year= 1997|isbn= 978-0-9523265-1-9}}
* {{Cita libro|last= White|first= Eric Walter|title= Benjamin Britten, His Life and Operas|url= https://books.google.com/books?id=WUPPVlD7UnwC&pg=PA308 |publisher= University of California Press|location= Berkeley and Los Angeles|year= 1983|isbn= 0-520-04893-8}}
 
{{Barra portal|Música clásica}}
{{Control de autoridades}}
 
{{ORDENAR:Holst, Imogen}}
 
= Historia NJ Devils =
=== Kansas City e Colorado ===