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'''Gustav Holst''' – born Gustavus Theodore von Holst - (1874-1934), [[English]] composer; known for the ''“The Planets"'' suite; was of Latvian extraction – his great grandfather had arrived in [[Britain]] from [[Riga]] in the early 19th century. He studied with [[Charles Villiers Stanford]] at the [[Royal College of Music]], became a close friend of [[Ralph Vaughan Williams]] and like him became interested in the conservation of English [[folk song]], and the choral tradition. (He was conducting village choirs in his teens.) He was a trombonist of professional standard. For the last 29 years of his life he taught at St. Paul’s Girls School in Hammersmith, [[London]].

'''Gustav Holst''' – born Gustavus Theodore von Holst - (1874-1934), [[English]] composer; known for the ''“The Planets"'' suite; was of Latvian extraction – his great grandfather had arrived in [[Britain]] from [[Riga]] in the early 19th century. He studied with [[Charles Villiers Stanford]] at the [[Royal College of Music]], became a close friend of [[Ralph Vaughan Williams]] and like him became interested in the conservation of English [[folk song]], and the choral tradition. (He was conducting village choirs in his teens.) He was a trombonist of professional standard. For the last 29 years of his life he taught at St. Paul’s Girls School in Hammersmith, [[London]].

Holst’s early works show influences of [[Wagner]], [[Grieg]] and [[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.  

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.  

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 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.