A Fugal Overture, Op. 40/1, H 151, is a short (approximately 5 minutes) concert overture for full orchestra by the English composer Gustav Holst. It was written in 1922 and first performed in 1923, and is a very early example of musical neoclassicism. Though there were conflicting opinions from Holst's contemporaries about the work's merits, it has since come to be considered an attractive and exciting, if slight, example of Holst's later style.
Scoring
The Fugal Overture is scored for piccolo, two flutes, two oboes, cor anglais, two clarinets in B♭, bass clarinet, two bassoons, double bassoon, four horns in F, three trumpets in C, three trombones, tuba, timpani, percussion (one or two players), and strings. There is an arrangement for piccolo, flute, oboe, cor anglais, two clarinets, two bassoons, two horns, two trumpets, two trombones, and strings; also a two-piano reduction.
Composition and early performances
Holst began to write the Fugal Overture in the summer of 1922, composing for the most part in a soundproof room at St Paul's Girls' School, where he worked as a music teacher. He initially intended it to develop into a ballet. The full score was completed on 4 January 1923.
The overture was first performed on 14 May 1923 at the Royal Opera House, Covent Garden, by Eugène Goossens conducting the British National Opera Company Orchestra. It served to introduce Holst's opera The Perfect Fool, also being premiered on that occasion. The first concert performance was at one of Henry Wood's Queen's Hall Promenade Concerts on 11 October 1923, the composer conducting the New Queen's Hall Orchestra; it featured in the Proms again in 1949 and 1985. The BBC broadcast the work for the first time early in 1924, and in 1927 the Czech Philharmonic Orchestra conducted by Václav Talich performed it in Prague.
Holst planned to record the work for the Columbia Gramophone Company, but this project came to nothing. The first recording of it was made by Sir Adrian Boult and the London Philharmonic Orchestra in 1967, issued by Lyrita the following year.
Style and structure
Though called fugal by Holst and said by him to be a sonata, the overture is a somewhat unconventional example of both forms. It was inspired by the counterpoint of J. S. Bach, and can be compared with the neoclassical works of Stravinsky, though, slightly antedating them, it can owe them no debt.
The Fugal Overture is divided into three sections. The first has a precipitate fugal subject in
4 time with strong cross-rhythms, the eight quavers falling into a 3 + 3 + 2 pattern. The second section is much slower, and includes a cello solo reminiscent of the sound world of Holst's later Egdon Heath. The third section returns to the fugal subject of the first.
Reception
The Fugal Overture met with a mixed reception in the 1920s and 1930s. The Musical Times found it "splendidly amusing", The Times enjoyed its "lively rhythms and vivid colour", but on another occasion compared it unfavourably to the Fugal Concerto, saying it had "less ideas in it...and such as it has have been better expressed by the composer before". R. W. S. Mendl called it "an exhilarating piece of fun from beginning to end", but Dyneley Hussey complained that both the Overture and Holst's almost contemporaneous Fugal Concerto were "erverse exercises in the contrapuntal style, devoid of any warmth and...real vitality".
Later unfavourable judgements came from normally friendly critics. Holst's daughter Imogen considered it "unsatisfactory", finding only in the central section a "merciful deliverance" from the "noise" of the fugue, which assaulted the ear; and Ralph Vaughan Williams, discussing Holst's music, admitted that it was "not one of favourite works". But there was also much praise. The Times, reviewing a 1956 performance by Boult, thought he made a cogent case for it as "an invigorating work that could effectively start any symphony concert". William Mann in 1967 thought it "exhilarating". In 1974 Hugh Ottaway, in The Musical Times, wrote that though it was not a major achievement it was a lively piece, "well worth hearing from time to time in place of some of the more hackneyed 'starters'." In more recent years it has been called "bracingly exuberant", and "a thrilling little piece...which feels like a 1920s equivalent of Short Ride in a Fast Machine."
Recordings
- London Philharmonic Orchestra, cond. Sir Adrian Boult (1968). Holst: A Fugal Overture; Moeran: Sinfonietta; Bax: November Woods (LP). Lyrita. SRCS 37.
- London Festival Orchestra, cond. Ross Pople (1992). Holst: The Planets, St Paul's Suite, A Fugal Overture (CD). ASV. DCA 782.
- London Symphony Orchestra, cond. Richard Hickox (1996). Holst: Orchestral Works (CD). Chandos. CHAN 9420.
- Royal Scottish National Orchestra, cond. David Lloyd-Jones (1998). Holst: Beni Mora, Somerset Rhapsody, Hammersmith, Egdon Heath, Invocation for Cello and Orchestra (CD). Naxos. 8.553696.
Citations
- ^ Short 1974, p. 46.
- Short 2014, pp. 128–129.
- Holst 1968, p. 73.
- Short 2014, p. 132.
- "Prom 53 20:00 Thu 11 Oct 1923 Queen's Hall". BBC. Retrieved 23 March 2024.
- "All Performances of Gustav Holst: A Fugal Overture, Op 40.1 at BBC Proms". BBC. Retrieved 23 March 2024.
- Short 2014, pp. 144, 169.
- Short 2014, p. 138.
- Short 2014, pp. 241, 269.
- Mendl, R. W. S. (1971). Reflections of a Music Lover. London: Spearman. p. 137. ISBN 085435011X. Retrieved 23 March 2024.
- Scholes, Percy (1954). The Listener's History of Music: A Book for Any Concert-Goer, Gramophonist, or Radio Listener, Providing Also a Course of Study for Adult Classes in the Appreciation of Music. Volume III: To the Composers of Today. London: Oxford University Press. p. 87. Retrieved 23 March 2024.
- ^ Holst 1968, pp. 73–74.
- Kennedy, Michael (1992). Boult Conducts Holst (PDF) (booklet). Lyrita. p. 4. SRCD.222. Retrieved 23 March 2024.
- C. (1 November 1923). "The Promenade Concerts". The Musical Times. Vol. 64, no. 969. p. 794. Retrieved 23 March 2024.
- "'Egdon Heath'. Holst's New Work at Cheltenham". The Times. London. 14 February 1928. p. 12.
- "The Promenade Concerts". The Times. London. 12 October 1923. p. 7.
- Short 2014, p. 137.
- Day, James (1998) . Vaughan Williams. Oxford: Oxford University Press. p. 65. ISBN 0198166311. Retrieved 23 March 2024.
- Simeone, Nigel (2022). Ralph Vaughan Williams and Adrian Boult. Woodbridge: Boydell & Brewer. p. 155. ISBN 9781783277292. Retrieved 23 March 2024.
- Mann, William (23 January 1967). "Glamour and Passion of Elgar Symphony". The Times. London. p. 14.
- Ottaway, Hugh (September 1974). "". The Musical Times. Vol. 115, no. 1579. p. 758.
- Leventhal, Fred M., ed. (2002). Twentieth-century Britain: An encyclopedia (Revised ed.). New York: Peter Lang. p. 256. ISBN 9780820451084. Retrieved 23 March 2024.
- Parry-Jones, Gwyn. "[Review of Chandos CHAN10911X]". MusicWeb International. Retrieved 23 March 2024.
References
- Holst, Imogen (1968). The Music of Gustav Holst (2nd ed.). London: Oxford University Press. ISBN 0193154161. Retrieved 21 March 2024.
- Short, Michael (1974). Gustav Holst (1874–1934): A Centenary Documentation. London: White Lion. ISBN 0728500000. Retrieved 19 March 2024.
- Short, Michael (2014). Gustav Holst: The Man and His Music. Hastings: Circaidy Gregory Press. ISBN 9781906451820. Retrieved 19 March 2024.
External links
- Fugal Overture (Holst): Scores at the International Music Score Library Project
- Recording by the London Philharmonic Orchestra, cond. Sir Adrian Boult at the Internet Archive
- Recording by the Royal Scottish National Orchestra, cond. David Lloyd-Jones at the Internet Archive
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