British composer Gustav Holst wrote his First Choral Symphony in 1923–24. It was premiered in Leeds Town Hall on October 7, 1925, conducted by Albert Coates and with Dorothy Silk as soloist. The same performers gave the work's second performance three weeks later in London's Queen's Hall.
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The symphony is written in the traditional four-movement structure; nevertheless, the setting of the Ode on a Grecian Urn and the scherzo can also be performed separately.[1]
By 1923, Holst enjoyed a substantial reputation as a choral composer. That year he was chosen by the organizers of the 1925 Leeds Triennial Festival to write a new work for that event. Holst accepted the commission. Turning to the poetry of John Keats for his text, Holst utilized various unrelated passages that stimulated his musical imagination. For the introduction and first movement he chose stanzas from the chorus of shepherds in Endymion and from the Roundelay in Book IV of the poem. The second movement became a setting of the complete poem Ode on a Grecian Urn. The Scherzo uses much of "Fancy and Folly's Song" a short piece published in Extracts from an Opera. For the finale Holst chose the lines "Spirit here that reighenest" which the poet had written in a copy of Beaumony and Fletcher's plays; this was followed by extracts from the Hymn to Apollo, most of the Ode to Apollo and the ode Bards of Passion and of Mirth. The work thus became a four-movement choral symphony, with the vocal parts fully integrated in the overall musical texture instead of being added to the orchestra as an extra element.[2]
Though it seems that the Leeds premiere was well-received, the London performance had a poor effect, due largely to an inadequate rehearsal of a demanding piece.[3] The work never recovered from that disastrous outing, and there were plenty of pundits prepared to pour scorn on the work. Literary purists were offended by the juxtaposition of unrelated elements from Keats' poems. Music critics scorned the work, accusing Holst of not pouring enough debauchery into the Bacchanale. Singers found the work difficult. Audiences showed little enthusiasm. Even Holst's friend, composer Ralph Vaughan Williams, admitted that he felt only a "cold admiration" for it.[4] After the initial performances the symphony fell into neglect. From this point Holst's popularity as a composer waned.[2]
Holst had planned to write a second choral symphony, based on poems by George Meredith, but did not progress past fragmentary sketches. These sketches are now located at the British Museum in London.[1]