I have been having a fascinating time preparing a talk for the Holst Birthplace Museum on "Holst and his Poets". If anybody is in Cheltenham on Friday evening, do come along if you can. Details are here (n.b. venue is not the Birthplace itself):
Among other things, I've managed to unearth a first: yesterday I recorded with a friend Holst's setting of Whitman's "Darest thou now, O Soul", the song for voice and piano that he wrote at the same time as RVW's Toward the Unknown Region, on the same poem. The story is familiar from the Holst and RVW literature (as RVW put it: 'About 1904 or early 1905, Gustav and I were both stuck – so I suggested we should both set the same words in competition – suggesting “Darest thou”. The prize was awarded by us to me') – but the song itself is completely unknown: it's never been performed and never been published, so it'll be fun to give a taste of it at the talk.
Preparing this talk has been a revelation: I knew some of the pieces (I remember singing the wonderful "Ode to Death" when I was a student), and I've always had a very soft spot for unusual Holst, but until I started looking around properly, I hadn't come across "The Cloud Messenger" or the complete opera version of "The Perfect Fool" - among other delights. My admiration for Holst's music has gone up significantly as a result of doing the research for this - it's not only been fascinating but very rewarding.
Among other things, I've managed to unearth a first: yesterday I recorded with a friend Holst's setting of Whitman's "Darest thou now, O Soul", the song for voice and piano that he wrote at the same time as RVW's Toward the Unknown Region, on the same poem. The story is familiar from the Holst and RVW literature (as RVW put it: 'About 1904 or early 1905, Gustav and I were both stuck – so I suggested we should both set the same words in competition – suggesting “Darest thou”. The prize was awarded by us to me') – but the song itself is completely unknown: it's never been performed and never been published, so it'll be fun to give a taste of it at the talk.
Preparing this talk has been a revelation: I knew some of the pieces (I remember singing the wonderful "Ode to Death" when I was a student), and I've always had a very soft spot for unusual Holst, but until I started looking around properly, I hadn't come across "The Cloud Messenger" or the complete opera version of "The Perfect Fool" - among other delights. My admiration for Holst's music has gone up significantly as a result of doing the research for this - it's not only been fascinating but very rewarding.
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