Hidden Holst VI: A Fugal Overture (1922)

I first heard Gustav Holst’s A Fugal Overture, op.40/1 (H.151) on record in about 1976. It was part of Lyrita SRCS 37, performed by the London Philharmonic Orchestra under Sir Adrian Boult. Coming only a few weeks after hearing a performance of The Planets during the Summer Proms at Glasgow’s Kelvin Hall, it came as a big surprise. Here, there were no romantic passages like Venus or some mystical moments from Neptune. Nor did it offer any folk tunes or hints at pastoralism, found in A Somerset Rhapsody. It was full-on neo-classical.

In 1922 Holst began writing a neo-classical work, after the example of Paul Hindemith’s or Igor Stravinsky’s explorations into this genre. Yet, Stravinsky had yet not penned his Octet for Wind (1923), and Hindemith had not embarked on his series of Kammermusik, op.36 (1925). The composer’s daughter, Imogen Holst, suggests that he was not following fashion, but that “his inquiring mind had led him up this particular path at that particular moment.”

In August 1922, Holst wrote to his pupil W. Probert-Jones saying: “As soon as I got to work…I unexpectedly wrote a thing that was meant for an overture and even now is in strict sonata form: but it happens to be a Fugue! Also, it is a Dance! At present I’m calling it a Bally Fugue, although perhaps Fugal Ballet would be more correct.” (Cited Holst, 1974, p.147)

A Fugal Overture was completed the following year, on 4 January, (Short, 1990, p.207) and was dedicated to Holst’s pupil and confidante, Jane M. Joseph. It was duly published by Novello the following year.

Musically, the Fugal Overture which is not in the least ‘academic’ but is full of cross rhythms and syncopation, which makes for a lively and interesting work. Yet, as Michael Short (Short, 1990, p.203) has pointed out, “the mood [of] vitality and gaiety, [is] made all the more so by the inclusion of a brief poignant interlude of bleakness which gives a foretaste of Egdon Heath.”

The piece was originally conceived as an overture to the ballet The Perfect Fool, “if one should be needed.”  It was premiered in this form on 14 May 1923, at the Royal Opera House, Covent Garden. The first concert performance was given on 11 October 1923, at the Queen’s Hall, London, by the New Queen’s Hall Orchestra, conducted by Holst. The Times (12 October 1923, p.7) reviewer, was less than impressed, considering that “The Overture had less ideas in it than the [Fugal] Concerto, and such as it has, have been expressed by the composer before.” Earlier in the evening concertgoers had heard his Fugal Concerto for flute, oboe and strings, op.40, no.2 (1923).

For the contemporary listener, A Fugal Overture is a fascinating exploration into part of Holst’s catalogue that remains hidden, save to enthusiasts of his music. Gustav Holst is always in danger of being a “One Hit Wonder” with his The Planets. It is good to move beyond this undoubted masterpiece.

Bibliography:

• Dickinson, A.E.F., Holst’s Music: A Guide, (Thames Publishing, London 1995)
• Holst, Imogen, A Thematic Catalogue of Gustav Holst’s Music, (Faber Music Limited, London, 1974)
• Short, Michael, Gustav Holst: The Man and his Music, (Oxford, OUP, 1990)

Discography:

• Holst: A Fugal Overture, Moeran: Sinfonietta; Bax: November Woods, London Philharmonic Orchestra/Adrian Boult Lyrita. SRCS 37, 1968.
• Holst: A Fugal Overture, The Planets, St Paul's Suite, London Festival Orchestra/Ross People. ASV. DCA 782, 1992.
• Holst: A Fugal Overture, with A Somerset Rhapsody, Scherzo, Egdon Heath, Hammersmith, Prelude and Scherzo, Capriccio, London Symphony Orchestra/Richard Hickox, Chandos CHAN 9420, 1996.
• Holst: A Fugal Overture with Beni Mora, Somerset Rhapsody, Hammersmith, Egdon Heath, Invocation for Cello and Orchestra, Royal Scottish National Orchestra/David Lloyd-Jones Naxos. 8.553696, 1998. 

Listen to Hickox’s account of Gustav Holst’s A Fugal Overture on YouTube, here. It comes complete with score.