Hidden Holst V: The Lure (1921)

Gustav Holst’s The Lure is a surprisingly interesting score. Think of the powerful brass figurations, a touch of folk melody, wide ranging percussion, much use of chords of the fourth, a degree of orientalism, and all topped off with a decidedly romantic moment towards the conclusion, and we have one of Holst’s most remarkable and vibrant scores. It is unbelievable that it is absent from the repertoire. Since 1982 there have only been two recordings of this piece.

In a letter to his friend W.G. Whittaker, (2 October 1921, quoted Short, 1974, p.69) Holst wrote:

“The books of songs make a feast indeed. Thanks 1000 times. I have not heard the piano parts yet and have not even looked at them much yet because the tunes have fascinated me.

Would you allow me to murder two or three of them in a ballet for Chicago? It sounds mixed but I got the books and a little commission from the USA about the same time and your tunes ran through my head when I thought of the ballet. But I shall ill-treat them disgracefully.”

This referred to North Countrie Ballads, Songs & Pipe-Tunes, edited and arranged by Whittaker (Curwen, 1921).

Nothing further is known about this commission, and the ballet was never performed.

Other works written at this time included the iconic, but sadly now regarded as politically incorrect, I Vow to thee my Country. The previous year (1920) had witnessed the first complete performance of The Planets.            

In her catalogue of her father’s music, Imogen Holst printed a shortened version of the ballet’s scenario. This had been devised by the American artist and impresario, Alice Barney (1857-1931):

“The Flame of a candle is shining brilliantly in the room. He [the Flame] …looks disdainfully at the poor little moths who flutter round him in adoration, [and] as they come too near him, he scorches them. ‘Folia’ appears - the most beautiful of moths. The Flame awaits her homage, but she ignores him at first. Filled with desire for her beauty, and anger at her indifference, he puts forth all his powers and she is irresistibly drawn towards him only to be crushed and burnt in his embrace…He flings her aside…But there are greater powers than he. As the grey dawn appears a large snuffer slowly descends and covers him.” (Holst, 1974, p.145)

It is not necessary to relate the music to the above synopsis. This really is only of historical interest. It does, however, explain the title of the piece.

Formally, The Lure is episodic – one dance following another. A.E.F. Dickinson (1995, p.195) observes that “the music presents a series of ideas characteristic of the mature Holst…” The note in the published score explains that “Folia’s Dance” nods towards the Marionette’s Dance from the Japanese Suite. It is also possible that it is based on one of the tunes from Whittaker’s volume. I was unable to check this out. There is evidence that Holst also used material from his incidental music to Clifford Bax’s 1918 play, The Sneezing Charm. This in turn was used as the basis of The Perfect Fool.

Colin Matthews (Music Times, May 1984, p.272) believed the scenario of The Lure was “rather naïve” and was “to all appearances composed in haste.” He concludes by suggesting that “though the ballet music does not have quite the vitality of The Perfect Fool, it contains some striking ideas, notably the shifting ‘fourth’ chords of the opening and some uncharacteristically romantic writing towards the end as one of the moths dies in the flame’s embrace.” 

The score was published in 1984 by Faber Music Limited. It was reviewed in Music and Letters (October 1985, p.411) by Michael Hurd. He writes that “The Lure now enjoys a certain currency as a nine-minute concert piece. That said, I am not aware of many “concert” performances of The Lure over the past few decades.

He continues, “Though typical of the composer in its use of ostinatos, asymmetrical rhythmic patterns, bitonality, and a very brilliant incisive kind of orchestration, it is relatively minor Holst – welcome enough, but unlikely to challenge such pieces as the Perfect Fool ballet music which go through the same hoops with much greater conviction.”

Listen to BBC National Orchestra of Wales/Richard Hickox, perform The Lure on YouTube, here.

Bibliography:
Dickinson, A.E.F., Holst’s Music: a Guide, Thames Publication, 1995.
Holst, Imogen, A Thematic Catalogue of Gustav Holst’s Music, Faber Music Ltd, 1974.
ed. Short, Michael, Gustav Holst Letters to W.G. Whittaker University of Glasgow Press, 1974.
Short, Michael, Gustav Holst: The Man and his Music, OUP, 1990.

Discography:
Holst, Gustav, The Lure, with Dances from the Morning of the Year, The Mystic Trumpeter, London Symphony Orchestra/David Atherton, Lyrita, SRCS.128, 1982
Holst, Gustav, The Lure, with A Winter Idyll, Indra, A Song of the Night, Interlude Sita, Invocation, Morning of the Year Dances, Lorraine McAslan/Alexander Baillie/London Philharmonic Orchestra/London Symphony Orchestra/David Atherton, Lyrita SRCD.209, 1993.
Holst, Gustav, The Lure, The Perfect Fool, The Golden Goose, The Morning of the Year, Joyful Company of Singers/Peter Broadbent, BBC National Orchestra of Wales/Richard Hickox, Chandos CHSA 5069, 2008.