Imogen Holst: Violin concerto (1935)

Rising Women Composers

Imogen Holst studied at the Royal College of Music (RCM) where she won prizes and scholarships and had her works performed alongside other rising women composers including Elisabeth Lutyens and Elizabeth Maconchy, although her compositional style was to differ from theirs. Having worked intensively at the Folk Dance and Song Society, spent time travelling in Europe and with new teaching posts and a string of requests for assistance at the time of writing the Violin Concerto, this was an exciting period of opportunity for Imogen following the death of her father.

As a scholar, dancer and enthusiast of Folk Dance and Song, Imogen Holst found Irish traditional airs and melodies from The Petrie Collection an important source of inspiration for the Concerto. First published in 1855, George Petrie's ‘Collection of the Ancient Music of Ireland’ is regarded as one of the most important nineteenth- century collections of traditional Irish music. The Concerto received its first performance privately with Elsie Avril as soloist and the composer herself conducting the London Symphony Orchestra at an RCM Patron’s Fund rehearsal.

 

First Public Performance

Having researched the composer’s manuscripts and from her own viewpoint as a violinist and composer, Midori Komachi will bring a unique perspective and a deep understanding of the work when she performs as soloist in the first public performance with the Elgar Sinfonia – an ensemble well-known for their championing of British music – conducted by Adrian Brown at an afternoon concert on Sunday 24 November at St Andrew’s Church, Holborn, London.

 

Resurgence of Interest

Imogen Holst takes her place alongside those undeniably talented British women composers of the last century - Ruth Gipps, Doreen Carwithen, Rebecca Clarke, Dorothy Howells, Ethel Smyth, Avril Coleridge-Taylor, Grace Williams and others - in a long overdue resurgence of interest in their life and works. Over the last twelve months, Imogen Holst has been celebrated in a dedicated Royal Philharmonic Society event; ‘A National Treasure’, and in a play, ‘Ben and Imo’, based on the book by Mark Ravenhill and performed at Stratford-upon-Avon. To this, a major discovery by Midori Komachi can now be added. Imogen Holst was a natural collaborator who supported countless musicians throughout her life, and her music carries a powerful message that resonates strongly today.

 

“As a female composer myself”, says Midori Komachi, “I find great inspiration in her resilience and dedication to serving others through music. It is a true honour to give the first public performance of this Concerto alongside conductor Adrian Brown, who had known Imogen personally. I am deeply thankful to the Archive, Britten Pears Arts for their invaluable assistance, and to Colin Matthews at the Holst Foundation for bringing the score publication to fruition through Faber Music.”