명곡감상
영국의 작곡가 이모겐 홀스트 (Imogen Holst, 1907 ~ 1984)의 The Unfortunate Traveller (1929) for Brass Band
이모겐 홀스트 (Imogen Holst, CBE, 1907년 4월 12일 ~ 1984년 3월 9일)는 영국의 작곡가이자 편곡가, 지휘자이다.
구스타브 홀스트의 외동딸로 태어났다. 랠프 본 윌리엄스에게 작곡을 배웠다.
1931년에 음악가로 활동을 시작했다. 그녀는 피아니스트가 되고 싶었지만 왼팔에 정맥염이 생겨서 포기해야만 했다.
1941년에서 1944년까지 왕립음악대학 (RCM)에서 공부했다.
1952년에 벤저민 브리튼의 초대로 올드버러 (Aldeburgh)에서 지내며 보조원으로 일했으며, 1956년부터 1977년까지 올드버러 음악 축제의 예술감독 (artistic director)을 맡았다.
1964년에 알덴버그를 떠나서 콜린 매슈스 (Colin Matthews)와 함께 아버지의 음악을 정리했다.
1970년에 왕립음악원( RAM)의 명예회원이 되었다.
○ Imogen Holst: The Unfortunate Traveller (1929) for Brass Band
This performance was given by Grimethorpe Colliery Band conducted by Robert Childs at the 2015 RNCM Festival of Brass.
I. Introduction
II. Scherzo (01:34)
III. Interlude (03:55)
IV. March (08:02)
“The Unfortunate Traveller was the first substantial word for brass band to be composed by a female composer. Imogen Holst (1907 – 84) submitted the suite as part of her 1930 student portfolio at the Royal College of Music. The title was taken from Thomas Nashe’s famous 1594 picaresque novel. Several Morris Dance tunes are introduced, including Bonnie Green Garters, Shepherd’s Hey, The Rose and The Wind Blaws Cauld. The spirited rhythms that remind us how much Imogen Holst loved tradition English dance music. The Suite was first performed on 12 February 1933 at her Majesty’s Theatre, Carlisle, by the St. Stephen’s Band, with the composer conducting. Interviewed by The Daily Mail, Imogen Holst said: ‘….it is the first time, so far as I know, that a woman has conducted a brass band at a public concert…. It was their performance at the Crystal Palace Festival [of A Moorside Suite] that inspired me to write this Suite, which I have dedicated to them’.
The original brass band version was not heard again after that performance. The composer’s manuscript score, which now resides in the Holst Collection at the Red House, Aldeburgh, is heavily marked with alterations, some of which appear to be in her father’s hand. The scoring reveals the 22- year-old’s lack of experience in writing for the band medium. There are problems of balance and range and an absence of colouration of the level that her father achieved so tellingly in A Moorside Suite, which was clearly the model for parts of The Unfortunate Traveller.” – Paul Hindmarsh
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