His early works show the influence of Grieg, Wagner, Richard Strauss and fellow student Ralph Vaughan Williams, and later, through Vaughan Williams, the music of Ravel. The combined influence of Ravel, Hindu spiritualism and English folk tunes enabled Holst to free himself of the influence of Wagner and Strauss and to forge his own style. Holst's music is well known for unconventional use of metre and haunting melodies.
Holst composed almost 200 works, including operas, ballets, choral hymns and songs. An enthusiastic educator, Holst became music master at St Paul's Girls' School in 1905 and director of music at Morley College in 1907, continuing in both posts until retirement.
He was the brother of Hollywood actor Ernest Cossart and father of the composer and conductor Imogen Holst, who wrote a biography of him in 1938.
Holst was born on 21 September 1874, at 4 Pittville Terrace (named today Clarence Road). Cheltenham, Gloucestershire, EnglandThe house has been opened as a museum devoted to Holst's life and times since 1974, devoted partly to him and partly to illustrating local domestic life of the mid-19th century.
Holst's great-grandfather, Matthias von Holst, was of Scandinavian origin, and came to England in 1802 from Riga. Holst's mother, Clara von Holst, who died in 1882, was a singer who bore two sons, Gustav and Emil Gottfried (who later became Ernest Cossart, a film actor in Hollywood), Following his wife's death, Adolph von Holst eventually remarried,and had two further sons.
Holst was christened Gustavus Theodore von Holst, after his grandfather and his great-uncle Theodor, a painter. He was a frail child with neuritis in his arm which plagued him for the rest of his life. His early recollections were musical; he was taught to play the piano and violin, and began composing when he was about twelve. He also started to play the trombone when his father thought this might improve his son's asthma. He was educated at Cheltenham Grammar School for Boys. He began composition at school, writing piano pieces, organ voluntaries, songs, anthems and a Symphony in C minor (from 1892). He was also organist and choir master at Wyck Rissington in the Cotswolds.
He attended the Royal College of Music on a scholarship, where he studied composition with Charles Villiers Stanford and where in 1895 he met fellow student Ralph Vaughan Williams, who became a lifelong friend. Vaughan Williams's own music was in general quite different from Holst’s, but he praised Holst's work abundantly and the two men developed a shared interest in exploring and maintaining the English vocal and choral tradition as found primarily in folk song, madrigals and church music. Holst and Vaughan Williams were able to criticise each other's compositions as they were being written. They never lost this degree of mutual trust.
While at the Royal College of Music, Holst fell in love with the music of Wagner, which he was able to hear at Covent Garden. He also came under the influence of William Morris, joining the Hammersmith Socialist Society and attending lectures by Morris and George Bernard Shaw (with whom he shared a passion for vegetarianism ). Holst remained a socialist all his life. He was also invited to conduct the Hammersmith Socialist Choir, teaching them Madrigals by Thomas Morley, choruses by Purcell, extracts from Wagner as well as works by Mozart and himself.
He also played in a popular orchestra called the "White Viennese Band", conducted by Stanislas Wurm. The music was cheap and repetitive and not to Holst's liking, and he referred to this kind of work as "worming" (a pun on Wurm's name, which means "worm" in German) and regarded it as "criminal". His need to "worm" came to an end as his compositions became more successful, and his income was given stability by his teaching posts. With his finances secure, Holst married Emily Isobel Harrison, a fair-headed soprano, at Fulham Register Office on 22 June 1901, their union enduring until his death in 1934. Emily Isobel bore him a daughter, Imogen, on 12 April 1907; to be their only child.
The poetry of Walt Whitman also had a profound effect on Holst, as it did with many of his contemporaries, and he set Whitman's words in "Dirge for Two Veterans" and ''The Mystic Trumpeter'' (1904). He also set poetry by Thomas Hardy and Robert Bridges. Holst also wrote an orchestral ''Walt Whitman Overture'' in 1899, which was given a world premiere recording by the Munich Symphony Orchestra, as well as a recording by the London Philharmonic Orchestra.
During these years Holst also became interested in Hindu mysticism and spirituality, and this interest led to the composition of several works set to translations of Sanskrit texts, including: ''Sita'' (1899–1906), a three-act opera based on an episode in the ''Ramayana''; ''Sāvitri'' (1908), a chamber opera based on a tale from the ''Mahabharata''; 4 groups of ''Hymns from the Rig Veda'' (1908–14); and two texts originally by Kalidasa: ''Two Eastern Pictures'' (1909–10) and ''The Cloud Messenger'' (1913). The texts of these last three works were translated by Holst himself. To make these translations from Sanskrit to English, Holst enrolled at University College London (UCL) to study the language as a 'non-matriculated' student. On 14 January 1909 he paid 5 guineas for Sanskrit classes during the spring and summer terms of that year. The UCL records also show that during this time he moved from 23 Grena Road in Richmond, to 10 The Terrace in Barnes. On 19 October 1909 he re-enrolled at UCL for the autumn term and paid 3 guineas "special fee" for his Sanskrit classes of "2 hours a week". The records end at this point, and so it seems he only spent one year as a student at UCL.
In 1905, Holst was appointed Director of Music at St Paul's Girls' School in Hammersmith, London. In 1907, Holst also became director of music at Morley College. These were the most important of his teaching posts, and he retained both until the end of his life.
During the first two decades of the 20th century, musical society as a whole (and Holst's friend Vaughan Williams in particular) became interested in old English folksongs, madrigal singers, and Tudor composers. Holst shared in his friend’s admiration for the simplicity and economy of these melodies, and their use in his compositions is one of his music’s most recognisable features.
Holst was an avid rambler. He walked extensively in Italy, France and England. He also travelled outside the bounds of Europe, heading to French-controlled Algeria in 1908 on doctor's orders as a treatment for asthma and the depression that crippled him after his submission failed to win the Ricordi Prize, a coveted award for composition. His travels in Arab and Berber lands, including an extensive cycling tour of the Algerian Sahara, inspired the suite ''Beni Mora'', written upon his return.
After the lukewarm reception of his choral work ''The Cloud Messenger'' in 1912, Holst was again off travelling, financing a trip to Spain with fellow composers Balfour Gardiner and brothers Clifford and Arnold Bax with funds from an anonymous donation. Despite being shy, Holst was fascinated by people and society, and had always believed that the best way to learn about a city was to get lost in it. In Girona, Catalonia, he often disappeared, only to be found hours later by his friends having abstract debates with local musicians. It was in Spain that Clifford Bax introduced Holst to astrology, a hobby that was to inspire the later ''Planets'' suite. He read astrological fortunes until his death, and called his interest in the stars his "pet vice".
Shortly after his return in 1913, St Paul's Girls School opened a new music wing, and Holst composed the still popular ''St Paul's Suite'' for the occasion. In 1913, Stravinsky premiered ''The Rite of Spring'', sparking riots in Paris and caustic criticism in London. A year later, Holst first heard Schoenberg’s ''Five Pieces for Orchestra'', an "ultra-modern" set of five movements employing "extreme chromaticism" (the consistent use of all 12 musical notes). Although he had earlier lampooned the stranger aspects of modern music, the new music of Stravinsky and Schoenberg influenced his work on ''The Planets''.
Holst's compositions include works for wind band, and have become standards in the repertoire. His most famous are the First Suite in E-flat for Military Band of 1909 and the Second Suite in F for Military Band of 1911 (see also ''Hammersmith'', below). He also wrote the "Moorside Suite" for brass band in 1928, the first recognised 'classical' composer to treat the medium seriously.
Holst and wife Isobel bought a cottage in Thaxted, Essex and, surrounded by medieval buildings and ample rambling opportunities, he started work on the suite that became his best known work, the orchestral suite ''The Planets''. Holst himself adapted the theme from "Jupiter" as a hymn tune under the name of "Thaxted", specifically for the words "I Vow to Thee My Country". (According to the documentary by Tony Palmer ''In the Bleak Midwinter'', Holst hated this association because the text was the opposite of what he believed. This is a little surprising, though, since he had made the adaptation himself in 1921.) His daughter Imogen later recalled of "I Vow to Thee" that "At the time when he was asked to set these words to music, Holst was so over-worked and over-weary that he felt relieved to discover they 'fitted' the tune from Jupiter".
While living in Thaxted, Holst became friendly with Rev. Conrad Noel, the famous 'Red Vicar', who supported the Independent Labour Party and espoused many unpopular causes. Holst became an occasional organist and choir master at Thaxted Parish Church and began an annual music festival at Whitsuntide in 1916, at which students from Morley College and St Paul's School performed. His best-known partsong, 'This Have I Done For My True Love' , was dedicated to Noel and often performed with dancing during religious ceremonies at Thaxted. This was controversial, as the Church of England still retained much of the Puritan ethic in its services. (The singing of non-biblical texts had been allowed only as recently as 1820, and religious dancing harked back to pre-Reformation times.) As late as 1951 at the Leith Hill Festival, singers from the Anglican tradition objected to the words of Holst's partsong, which mention dance and religion together. Vaughan Williams, who was conducting, advised the objectors to vocalise and leave the words to those singers who did not share the inhibition. Controversy surrounded Holst's friendship with Noel, whose opinions grew progressively uncompromising, leading to his displaying the Red Flag and that of Sinn Fein in the church. Holst's view was that Noel's philosophy was a "gospel of comic hate", but he ceased to hold the music festival at Thaxted after three seasons, moving it to Dulwich.
Other tunes that also became attached to hymns were ''Cranham'' which is the usual tune to Christina Rossetti's poem ''In the Bleak Midwinter'' and ''Sheen'' which is attached to a versification of the recessional ''From glory to glory advancing'' from the Orthodox Christian Liturgy of Saint James.
During the years 1920–1923, Holst's popularity grew through the success of ''The Planets'' and ''The Hymn of Jesus'' (1917) (based on the Apocryphal gospels), and the publication of a new opera, ''The Perfect Fool'' (a satire of a work by Wagner). Holst became something of "an anomaly, a famous English composer", and was busy with conducting, lecturing and teaching obligations. He hated publicity; he often refused to answer questions posed by the press and when asked for his autograph, handed out prepared cards that read, "I do not hand out my autograph". Always frail, after a collapse in 1923 he retired from all teaching (other than at St Paul's School, where he was still teaching at his death) to devote the remaining (eleven) years of his life to composition.
Holst took advantage of new technology to publicise his work through sound recordings and the BBC’s wireless broadcasts. He began to conduct the London Symphony Orchestra for the Columbia company in 1922, using the acoustic process; his recordings of the period include ''Beni Mora'' , the ''Marching Song'' and (remarkably) the complete ''Planets''. Although, as his daughter Imogen noted, he couldn't quite achieve the gradual fade-out of women's voices and orchestra he had written (owing to the limitations of early recording), it was a landmark recording of the work. Holst conducted it again, with the same orchestra and for the same company, in an electrical recording of 1926. All performances have been issued on LP and CD format.
In 1927 he was commissioned by the New York Symphony Orchestra to write a symphony. Instead, he wrote an orchestral piece based on Thomas Hardy's Wessex, a work that became ''Egdon Heath'' and which was first performed a month after Hardy’s death, in his memory. By this time, Holst was going out of fashion, and the piece was poorly reviewed (although this may have as much to do with the austere nature of the work). However, Holst is said to have considered the short, subdued but powerful tone poem his "best work" . The piece has been much better received in recent years, with several recordings available. Holst did complete a scherzo for the symphony before his death; this music has been recorded.
Towards the end of his life, Holst wrote ''Choral Fantasia'' (1930), and he was commissioned by the BBC to write a piece for military band; the resulting ''Hammersmith'' was a tribute to the place where he had spent most of his life, a musical expression of the London borough (of Hammersmith), which begins with an attempt to recreate the haunting sound of the River Thames sleepily flowing its way. He then made an orchestral version of this work for its first performance, sharing the programme with the London premiere of Walton's ''Belshazzar's Feast''. This unlucky coincidence may account for its subsequent obscurity as an orchestral work.
Interested as ever in new mediums, Holst wrote a score for the Associated Sound Film Industries picture 'The Bells' in which Holst believed he appeared as an extra in a crowd scene. However, he was mortified when he heard the quality of the 1931 soundtrack. The film was the victim of poor marketing and no copy can now be traced. He also wrote a 'jazz band piece' that his daughter later arranged for orchestra as ''Capriccio''. A late flowering of academic life came when Harvard University offered him a lectureship for the first six months of 1932.
Holst had a lifetime of poor health, which worsened due to a concussion during a backward fall from the conductor's podium in 1923, from which he never fully recovered. In his final four years, Holst grew ill with stomach problems. One of his last compositions, the ''Brook Green Suite'', named after the land on which St Paul’s Girls’ School was built, was performed for the first time a few months before his death. Holst died on 25 May 1934, of complications following stomach surgery, in London. His ashes were interred at Chichester Cathedral in West Sussex, with Bishop George Bell giving the memorial oration at the funeral.
''Holst: In the Bleak Midwinter'', directed by Tony Palmer, was first transmitted on 24 April 2011. The documentary charted his life with special reference to his support for socialism and for working class ventures.
Category:English people of Swedish descent Category:English composers Category:English classical trombonists Category:20th-century classical composers Category:Opera composers Category:Royal Philharmonic Society Gold Medallists Category:Old Patesians Category:People from Cheltenham Category:British people of Latvian descent Category:Music and musicians from Gloucestershire Category:Alumni of the Royal College of Music Category:English vegetarians Category:1874 births Category:1934 deaths Category:People from Barnes, London Category:Alumni of University College London Category:Ballet composers Category:Brass band composers Category:English socialists
bg:Густав Холст ca:Gustav Holst cs:Gustav Holst cy:Gustav Holst da:Gustav Holst de:Gustav Holst et:Gustav Holst el:Γκούσταβ Χολστ es:Gustav Holst eo:Gustav Holst fa:گوستاو هولست fr:Gustav Holst gl:Gustav Holst ko:구스타브 홀스트 is:Gustav Holst it:Gustav Holst he:גוסטב הולסט la:Gustavus Holst hu:Gustav Holst nl:Gustav Holst ja:グスターヴ・ホルスト no:Gustav Holst nn:Gustav Holst pl:Gustav Holst pt:Gustav Holst ru:Холст, Густав simple:Gustav Holst sl:Gustav Holst th:กุสตาฟ โฮลส์ fi:Gustav Holst sv:Gustav Holst tr:Gustav Holst uk:Густав Холст zh:古斯塔夫·霍尔斯特This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
Dame Kiri Jeanette Te Kanawa, ONZ, DBE, AC (pronounced ; born 6 March 1944, Gisborne, New Zealand) is a New Zealand / Māori soprano who has had a highly successful international opera career since 1968. Acclaimed as one of the most beloved sopranos in both the United States and Britain she possesses a warm full lyric soprano voice, singing a wide array of works in multiple languages from the 17th to the 20th centuries. She is particularly associated with the works of Mozart, Strauss, Verdi, Handel and Puccini.
Te Kanawa's voice has been described as having "a vibrant but mellow quality that is ample in size without being overly heavy or forced". Music critics have consistently praised the freshness and warmth of her voice. The sheer beauty of Te Kanawa's voice made her one of the leading operatic sopranos internationally of the 1970s and 1980s. She found particular success in portraying princesses, noble countesses and other similar characters on stage, as her naturally dignified stage presence and physical beauty complemented these roles well.
Although she now only rarely sings in operas, Te Kanawa still frequently performs in concert and recital, while giving masterclasses and supporting young opera singers in launching their careers. In August 2009, ''The Daily Telegraph'' (London) reported Te Kanawa is retiring because the discipline is exhausting. It said her last opera performance would be at the Cologne Opera in Germany in April 2010, when she sings the role of the Marschallin in ''Der Rosenkavalier'' by Richard Strauss. However, Te Kanawa denied this the following month when interviewed in Sydney, saying "The press might have announced it. I didn't say a thing. I don't know why they're trying to retire me. I'm not retiring."
Kiri met Desmond Park on a blind date in London in August 1967, and they married six weeks later. They adopted two children, Antonia (1976) and Thomas (1979) who was named after Kiri's adoptive father. The couple divorced in 1997.
She first appeared on stage as the Second Lady in Mozart's ''The Magic Flute'', as well as in performances of Purcell's ''Dido and Aeneas'' in December 1968 at the Sadler's Wells Theatre. She also sang the title role in Donizetti's ''Anna Bolena''. In 1969, she sang Elena in Rossini's ''La donna del lago'' at the Camden Festival; and also was offered the role of the Countess in ''The Marriage of Figaro'' after an audition of which the conductor, Colin Davis, said, "I couldn't believe my ears. I've taken thousands of auditions, but it was such a fantastically beautiful voice." Praise for her Idamante in Mozart's ''Idomeneo'' led to an offer of a three-year contract as junior principal at the Royal Opera House Covent Garden where she made her debut as Xenia in ''Boris Godunov'' and a Flower Maiden in ''Parsifal'' in 1970. Under director John Copley, Te Kanawa was carefully groomed for the role of the Countess for a December 1971 opening.
On 1 December 1971 at Covent Garden, Kiri Te Kanawa repeated her Santa Fe performance and created an international sensation as the Countess: "with "Porgi amor" Kiri knocked the place flat." It was followed by performances as the Countess at the Opéra National de Lyon and San Francisco Opera in autumn 1972, while her Metropolitan Opera debut in 1974 as Desdemona in ''Otello'' took place at short notice, replacing an ill Teresa Stratas at the last minute. She sang at the Glyndebourne Festival in 1973, with further débuts in Paris (1975), Milan and Sydney (1978), Salzburg (1979) and Vienna (1980). In 1982 she gave her only stage performances as Tosca in Paris. In 1980 she added Elisabeth de Valois in ''Don Carlos'' to her repertory at Chicago, and in 1991 the Countess in ''Capriccio'', sung first at Covent Garden and with greater success at Glyndebourne and the Metropolitan in 1998.
In subsequent years, she performed at the Lyric Opera of Chicago, Paris Opera, Sydney Opera House, the Vienna State Opera, La Scala, San Francisco Opera, Munich and Cologne, adding the Mozart roles of Donna Elvira, Pamina, and Fiordiligi, in addition to Italian roles such as Mimi in Puccini's ''La bohème''. She played Donna Elvira in Joseph Losey's 1979 film adaptation of ''Don Giovanni''.
She was seen and heard around the world in 1981 by an estimated 600 million people . when she sang Handel's "Let the Bright Seraphim" at the wedding of Charles, Prince of Wales, and Lady Diana Spencer.
In 1984, Leonard Bernstein decided to re-record the musical ''West Side Story'', conducting his own music for the first time. Generally known as the "operatic version", it starred Te Kanawa as Maria, José Carreras as Tony, Tatiana Troyanos as Anita, Kurt Ollman as Riff, and Marilyn Horne as the offstage voice who sings "Somewhere". It won a Grammy Award for Best Cast Show Album in 1985 and the recording process was filmed as a documentary.
Te Kanawa has a particular affinity for the heroines of Richard Strauss. Her first appearance in the title role in ''Arabella'' was at the Houston Grand Opera in 1977, followed by the roles of the Marschallin in ''Der Rosenkavalier'' and the Countess in ''Capriccio''. Many performances were given under the baton of Georg Solti and it was with him that she made her first recording of ''The Marriage of Figaro''.
In recent years Te Kanawa's appearances on the opera stage have become more infrequent, although she remains busy as a concert singer. She appeared in performances in Samuel Barber's ''Vanessa'' with the Washington National Opera and the Los Angeles Opera in November/December 2004. In February 2010 she played the part of The Duchess of Krakenthorp in Donizetti's ''La fille du régiment'' at the Metropolitan Opera, and sang a tango. In April 2010 she sang the Marschallin in ''Der Rosenkavalier'' by Richard Strauss in two performances at the Cologne Opera in Germany. It is said, this would be the end of her operatic career, but obviously this is not certain.
On 12 June 2008 she received the Edison Classical Music Award during the Edison Classical Music Gala (formerly: 'Grand Gala du Disque') in the Ridderzaal in The Hague.
The foundation manages a trust fund to provide financial and career scholarships to young New Zealand singers and musicians.
Following regional auditions of over 600 aspiring opera singers, 40 were invited to attend masterclasses in London with Dame Kiri, mezzo-soprano Anne Howells and conductor Robin Stapleton. From these masterclasses fifteen singers were selected for the semi-finals which were broadcast on 5 consecutive weeks on BBC Radio 2’s Friday Night Is Music Night. The semi-finalists were accompanied by the BBC Concert Orchestra, conducted by Martin Yates, Richard Balcombe and Roderick Dunk and their performances were judged by Dame Kiri, Anne Howells, Robin Stapleton and director John Cox.
Five singers went through to the final which was broadcast on Radio 2 on Friday 3 September 2010. The winner - soprano Shuna Scott Sendall - performed with Dame Kiri and José Carreras at BBC Proms In The Park in Hyde Park, London on Saturday 11 September 2010 and was given the opportunity to attend a three-week residential course at the Solti Te Kanawa Accademia in Italy.
Category:Operatic sopranos Category:New Zealand sopranos Category:New Zealand opera singers Category:New Zealand Māori classical musicians Category:New Zealand female singers Category:New Zealand pop singers Category:Traditional pop music singers Category:Crossover jazz singers Category:Women in jazz Category:Dames Commander of the Order of the British Empire Category:Members of the Order of New Zealand Category:New Zealand dames Category:Honorary Companions of the Order of Australia Category:BRIT Award winners Category:Grammy Award winners Category:Fellows of Somerville College, Oxford Category:Fellows of Wolfson College, Cambridge Category:Honorary Fellows of Somerville College, Oxford Category:Honorary Members of the Royal Academy of Music Category:People from Gisborne, New Zealand Category:1944 births Category:Living people
bg:Кири Те Канава ca:Kiri Te Kanawa de:Kiri Te Kanawa et:Kiri Te Kanawa es:Kiri Te Kanawa eo:Kiri Te Kanawa fr:Kiri Te Kanawa hy:Կիրի Տե Կանավա it:Kiri Te Kanawa he:קירי טה קאנאווה lb:Kiri Te Kanawa hu:Kiri Te Kanawa mi:Kiri Te Kanawa ms:Kiri Te Kanawa nl:Kiri Te Kanawa ja:キリ・テ・カナワ no:Kiri Te Kanawa pl:Kiri Te Kanawa pt:Kiri Te Kanawa ro:Kiri Te Kanawa ru:Кири Те Канава sc:Kiri Te Kanawa fi:Kiri Te Kanawa sv:Kiri Te Kanawa zh:奇里·特·卡娜娃This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
There are at least four different people called "Te Kanawa"
Te Kanawa was a warlord of Maniapoto; he settled disputes with a Taiaha in Tainui or out side Tainui. Some of these disputes were boundary disputes, hence the Ngati Hari connection. The Boundary line between Tu Wharetoa and Maniapoto and the marae Hia Kaitupeka by Taumarunui. Te Kanawa is an Amo on their Tupuna Whare.
Pei Te Hurunui: "King Potatau"
He was also known as Tuhoro Te Kanawa and was signatory to the treaty signing at Kawhia and a confederate of King Pōtatau 1850s to the 1880s. He was one of the eight chiefs who sat with Pōtatau at Haurua Pā. Haurua Pā stood where the Waitomo golf links are now.
His mother (according to Pei Te Hurunui in his book ''King Potatau'' (p. 120)) was Te Rahuruake and his sister was Parekohu. He also had a daughter or niece, Te Rangiata.
Tuhoro Te Kanawa is the only descendant that has the blood line links to the Te Kanawa name of the Tupuna Te Kanawa and of Ngati Te Kanawa. Tuhoro Te Kanawa was one of the paramount chiefs of Ngati Maniapoto confederation and Ngati Kinohaku.
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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