Uncovered Imogen Holst Violin Concerto to receive first public performance

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Imogen Holst’s Violin Concerto will have its first public performance in London on 24 November, almost 90 years after the work was written in 1935.

Violinist and composer Midori Komachi is reviving the neglected violin concerto as part of her latest project bridging UK and Japanese cultures through music.

Komachi’s initiative, sparked by her research and discovery of the manuscript of the Concerto for Violin and Strings by Imogen Holst at the Archive, Britten Pears Arts in Aldeburgh, has resulted in the score publication by Faber Music and a series of events this year.

’Encountering the manuscript of this Violin Concerto at the Archive, Britten Pears Arts, has been one of the most thrilling moments in my career,’ said Komachi. ’Each note, meticulously handwritten by the composer, seems to radiate her energy, musicality, and personality.’

Komachi describes the work as deeply rooted in folk traditions, drawing inspiration from Irish folk melodies. Evident in the music are many folk-dance motifs, conveying the composer’s love for dancing.

’When I first read through the manuscript, it reminded me of Vaughan Williams’s Concerto Accademico - not only for the instrumentation and the structure of the movements, but also the surprising turns of harmony underneath the folk tunes.

’There is a fun interplay between the solo violin and the orchestra, which adds a playful and dynamic element to the performance.’

Imogen Holst (1907-1984), known affectionately as ‘Imo,’ was a significant figure in the musical life of mid-20th century Britain, as composer, arranger, conductor, educator, organiser and dancer - writing books, forming choirs, conducting bands and orchestras (at a time when it was rare to see a woman on the podium), as well as composing music that is only now being increasingly discovered and performed.

As soloist, Komachi will give the first public performance with the Elgar Sinfonia conducted by Adrian Brown at St Andrew’s Church, Holborn, London on Sunday 24 November 2024 at 4.30pm.

What can listeners expect of this neglected violin concerto? Komachi describes it as incredibly welcoming to music enthusiasts of all levels.

’Unlike a traditional violin concerto that highlights virtuosity, this piece draws listeners into a shared experience of cultural roots, creating a universally relatable connection. Imogen was undoubtedly compelled by a strong sense of obligation to guide the younger generation and highlight the important role music plays in uniting communities. A key aspect of this was her commitment to preserving and promoting folk song traditions. This concerto embodies that mission.’

Komachi highlights Holst’s influence of folk dance as a signature element in her works. ’You will often hear a memorable, lyrical tune, supported by interesting harmonies. In her book Tune (1962), she begins by saying ”English musicians are fortunate to possess the word ’tune’”.

’The idea of “tune” rather than “melody” seems to define her approach. There is a comforting sense of familiarity in her music - the kind that likely has audiences humming the tunes as they walk out of the concert hall!’

Komachi, who performs on a Giuseppe Pedrazzini violin and a François Lupot bow, feels honoured to give the first public performance of the concerto alongside conductor Adrian Brown, who had known Holst personally.

’I am deeply thankful to the Archive, Britten Pears Arts, for their invaluable assistance, and to Colin Matthews at the Holst Foundation for bringing the score publication to fruition through Faber Music.’ 

The project is supported by The Great Britain Sasakawa Foundation. Following the performance, Komachi returns to Japan for a live broadcast from OTTAVA and a Lecture Recital at Asahi Culture Centre.