Holst’s choral music comprises both large and small works. The Hymn of Jesus is probably his best known larger work; it was written in 1917 with’ a text from his own translation of the Apocrypha and was scored for double chorus and orchestra. Other choral works include hymns, carols, motets, part songs, canons, and choral arrangements of folk songs. A complete listing of his compositions can be found in A Dictionary of Twentieth-Century Composers.
Seven distinct musical devices emerge from an analysis of Holst’s choral music. They are: 1) irregular meters, 2) modal and combined scales, 3) polytonality, 4) enharmonic modulations, 5) ostinato descending bass patterns and ground bass figures, 6) pedal points, sometimes with multiple pitches, and 7) recitative-like melodies. Evidence of these musical devices will be found particularly in his part songs and in some of the choral folk-song arrangements; the canons have these traits as well as other even more unique features.
Holst’s interest in music education through participation in musical performance led him to compose part songs for· children (the “Whittier Part-Songs” of 1910 and 1917), for the St. Paul’s
Girls’ School Choir, and for the Morley College Choir. The choirs, under Holst’s direction, were open to anyone who wanted to sing. Although he attempted to maintain a high professional standard in his choirs, he believed that everyone should be given the opportunity to experience music through performance; he went so far as to importune the musical members of his choirs to at least “make a cheerful noise to God.”
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