Composer: Gustav Holst
Works: Choral Fantasia (1930), First Choral Symphony (1925)
Performers: Lynne Dawson (soprano), John Birch (organ), Guildford Choral Society, Royal Philharmonic Orchestra/Hilary Davan Wetton
Recording: Guildford Cathedral (Fantasia) and Henry Wood Hall, London, 21, 22, 28 March 1993
Label: Hyperion CDH55104
Gustav Holst, a luminary of the early 20th century British classical scene, is often celebrated for his orchestral masterpieces, particularly The Planets. However, his choral works, notably the Choral Fantasia and the First Choral Symphony, reveal a deeply introspective side of his compositional voice. Both pieces reflect a poignant engagement with themes of death, immortality, and the transcendence of art, resonating with audiences who navigated the aftermath of World War I. The Choral Fantasia, setting Robert Bridges’ “Ode to Music,” premiered in 1930, speaks to a generation grappling with loss, while the Symphony, rooted in the poetic richness of Keats, showcases Holst’s ability to weave complex emotional landscapes through music.
The performance under Hilary Davan Wetton is marked by a commendable clarity and expressiveness that characterizes both the Guildford Choral Society and the Royal Philharmonic Orchestra. Lynne Dawson’s soprano voice, notable for its purity and vibrato-free tone, soars effortlessly through the demanding passages of the Fantasia. Particularly striking is her performance of the lines “Rejoice ye dead, where’er your spirits dwell,” where the emotional weight of the text is matched by her tonal control. The organ, played by John Birch, provides a lush foundation, enhancing the ethereal quality of the choral textures without overwhelming them. The Guildford Choral Society demonstrates exceptional diction, ensuring that the poetic lines are delivered with clarity—a crucial aspect given Holst’s intricate word-setting.
The Choral Symphony’s orchestration is masterfully executed, with its varied textures brought to life by the orchestra’s nuanced playing. The section “Ever let the fancy roam” is a highlight, where the chorus navigates Holst’s complex rhythms with impressive precision. The ethereal quality of the work shines particularly in the movement “Towards the Unknown Region,” which surpasses Vaughan Williams’ similarly themed piece in its emotional depth and musical transcendence. The harp’s delicate filigree during “Underneath large blue-bells tented” evokes a sense of wonder, complemented by the soaring lines of the chorus. This moment stands as a testament to Holst’s ability to convey profound beauty through simple yet profound musical language.
The recording quality of this Hyperion release is commendable, capturing the multi-layered choral textures with clarity and warmth. The engineering allows listeners to appreciate the intricate interplay between the choir and orchestra, making this recording stand out against previous releases, such as the Boult and Sargent interpretations. While those versions have their merits, they often suffer from a soft-focus quality that obscures the precision of Holst’s writing. The digital clarity of this recording reveals the full spectrum of Holst’s compositional palette, highlighting his deft handling of harmony and rhythm.
This disc serves as a vital reminder of Holst’s contributions to choral literature, presenting two works that intertwine themes of life, death, and artistic expression with unmatched beauty. The performances are not merely interpretations; they breathe new life into Holst’s vision, making a compelling case for his relevance in contemporary repertoire. The profound sentiments expressed within the poetry of Keats and Bridges find a fitting musical counterpart in Holst’s compositions, reaffirming their place within the canon of English choral music. The Hyperion recording stands as a benchmark for future interpretations, capturing the essence of Holst’s choral works with both reverence and insight.
