Changes

Holst’s early works show influences of [[Wagner]], [[Edvard Grieg|Grieg]] and [[Antonin Dvorak|Dvorak]]; but his own voice can be heard, especially the exquisite little ''“[[Ave Maria]]”'' for female chorus. Like RVW he was a slow developer and he was into his late thirties before his music became consistent in quality. By then he had absorbed [[plainsong]] and [[medieval]] [[poetry]] and the modal harmonies of the past into what he called “the musical idiom of the English language”. Still, many of his songs, and folksong settings, and hymns and other works for the church are frequently performed today. Perhaps because of his long association with St. Paul’s, his use of the female voice in choral works is outstanding. His outstanding choral work in the eyes (ears?) of the music loving public - church-going or not - would be his setting of the Christina Rossetti poem, ''In the deep midwinter''.  

Holst’s early works show influences of [[Wagner]], [[Edvard Grieg|Grieg]] and [[Antonin Dvorak|Dvorak]]; but his own voice can be heard, especially the exquisite little ''“[[Ave Maria]]”'' for female chorus. Like RVW he was a slow developer and he was into his late thirties before his music became consistent in quality. By then he had absorbed [[plainsong]] and [[medieval]] [[poetry]] and the modal harmonies of the past into what he called “the musical idiom of the English language”. Still, many of his songs, and folksong settings, and hymns and other works for the church are frequently performed today. Perhaps because of his long association with St. Paul’s, his use of the female voice in choral works is outstanding. His outstanding choral work in the eyes (ears?) of the music loving public - church-going or not - would be his setting of the Christina Rossetti poem, ''In the deep midwinter''.  

Holst’s step-mother was a theosophist. It may be her influence that led him to his abiding interest in eastern mysticism and astrology that was to find expression in ''“The Planets”'' and other works. Whilst that suite is the most popular of his music, and is a world-wide favourite, he wrote numerous other pieces with an “eastern flavour”, including settings of parts of the [[Rig Veda]] – he had learnt [[Sanskrit]] and did his own translations – and these are unique in Western music.

Holst’s step-mother was a theosophist. It may be her influence that led him to his abiding interest in eastern mysticism and astrology that was to find expression in ''“The Planets”'' and other works. Whilst that suite is the most popular of his music, and is a worldwide favourite, he wrote numerous other pieces with an “eastern flavour”, including settings of parts of the [[Rig Veda]] – he had learnt [[Sanskrit]] and did his own translations – and these are unique in Western music.

From an early age, when he helped his father organise and arrange the music of the local [[parish]] church, Holst participated in the musical life around him. Any lover of [[brass band]] music will probably have heard pieces of his - he wrote competition pieces and much else for that ensemble. Much of his music is suitable for performance by amateurs, be they church choirs, bands, or the young singers and instrumentalists at St. Paul’s, for whom he wrote some of his most popular works, including ''“St. Paul’s”'' and ''“Brook Green”'' suites for orchestra.

From an early age, when he helped his father organise and arrange the music of the local [[parish]] church, Holst participated in the musical life around him. Any lover of [[brass band]] music will probably have heard pieces of his - he wrote competition pieces and much else for that ensemble. Much of his music is suitable for performance by amateurs, be they church choirs, bands, or the young singers and instrumentalists at St. Paul’s, for whom he wrote some of his most popular works, including ''“St. Paul’s”'' and ''“Brook Green”'' suites for orchestra.