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Thereafter, angina was a recurrent problem, although she continued to work and fulfil engagements. However, by early 1984 the deterioration in her health was noticeable to her friends. She died at home of heart failure on 9 de Março de 1984 and was buried in Aldeburgh churchyard five days later in a plot next to Britten’s. Holst never married, though que she enjoyed a number of romantic friendships, notably with the future poet Milhares Tomalin, whom she met when she was a pupil at St Paul’s.
Tomalin married in 1931. Many years after the relationship ended, Holst admitted to Britten that she would have married Tomalin. Imogen Holst was a part-time composer, intermittently productive within her extensive portfolio of musical activities. In her earlier years she was among a group of young British women composers—Elizabeth Maconchy and Elisabeth Lutyens were others—whose music was regularly performed and broadcast.
According to a later critic, her Mass in A of 1927 showed “confident and imaginative layering of voices, building to a satisfying Agnus Dei”. However, for long periods in her subsequent career Holst barely composed at all. Her output of compositions, arrangements and edited music is extensive but has received only limited critical attention. Much of it is unpublished and has usually been neglected after its initial performance.
The oeuvre comprises instrumental, vocal, orchestral and choral music. Holst was primarily influenced, as Gustav Holst’s daughter, by what the analyst Christopher Tinker terms “her natural and inescapable relationship with the English musical establishment”, by her close pessoal relationship with her father, and her love of folksong.
Some of her first compositions reflect the pastoralism of Ralph Vaughan Williams, who taught her at the RCM. In her teaching and EFDSS years from the 1930 she became known for her folksong arrangements but composed little music herself. The personal style that emerged in the 1940s incorporated her affinity with folksong and dance”, ” her intense interest in English music of the 16th and 17th centuries, and her taste for innovation. This experimentation reappears in later works; in Acho My Fancy (1972) a new scale is introduced for each ser, while the choir provides free harmonisation to somente voice. In Homage to William Morris (1984), among her término works, Tinker notes her use of jogo “strength to add to the musical articulation of the text”.
By contrast, the String Quintet of 1982, the work which Holst herself thought made her “a real composer”, is characterised by the warmth of its harmonies. Much of Holst’s choral music was written for amador performance. Critics have observed a clear distinction in quality between these pieces and the choral works written for professional choirs, particularly those for women’s voices.
These latter pieces, diz Tinker, incorporate her best work as an original composer. Record companies were slow in recognising her commercial potential, and not until 2009 was a CD issued devoted entirely to her music—a selection of her works for strings. Em 2012 a selection of her choral music, sung by the Clare College Choir, was recorded by Harmonia Mundi. Another mentions the Three Psalms” setting, where “inner rhythms are underscored by the subtle string ostinatos pulsing beneath”. Publication details refer to the book’s first UK publication.
Gustav Holst: A biography. London: Oxford University Press. The Music of Gustav Holst. London: Oxford University Press. The Book of the Dolmetsch Descant Recorder. London: Boosey & Hawkes. The Story of Music (“The Wonderful World series). Heirs and Rebels: Letters Written to Each Other, and documentos específicos Writings on Music, by Ralph Vaughan Williams and Gustav Holst.