Imogen Holst’s Violin Concerto is set for its first public performance in London on November 24, nearly 90 years after it was composed in 1935.
Violinist and composer Midori Komachi is reviving this overlooked work as part of her latest project aimed at bridging UK and Japanese cultures through music. Komachi’s initiative began after she discovered the manuscript of Holst’s Concerto for Violin and Strings at the Archive, Britten Pears Arts in Aldeburgh. This discovery has led to the score being published by Faber Music and a series of related events throughout the year.
“Encountering the manuscript of this Violin Concerto at the Archive, Britten Pears Arts, has been one of the most thrilling moments of my career,” Komachi said. “Each note, meticulously handwritten by the composer, seems to radiate her energy, musicality, and personality.”
She describes the concerto as deeply rooted in folk traditions, drawing inspiration from Irish folk melodies. The music features various folk-dance motifs, reflecting the composer’s love for dance.
“When I first read through the manuscript, it reminded me of Vaughan Williams’s Concerto Accademico — not only in its instrumentation and structure but also due to the surprising harmonic shifts that lie beneath the folk tunes,” she explained. “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), affectionately known as “Imo,” was a pivotal figure in the mid-20th century British music scene. She excelled as a composer, arranger, conductor, educator, and dancer, contributing to choirs, bands, and orchestras at a time when female conductors were rare. Her music is only now beginning to be rediscovered and performed widely.
As the soloist, Komachi will perform the concerto with the Elgar Sinfonia, conducted by Adrian Brown, at St. Andrew’s Church in Holborn, London, on Sunday, November 24, 2024, at 4:30 p.m.
What can audiences expect from this neglected violin concerto? Komachi describes it as incredibly accessible to music lovers of all backgrounds.
“Unlike a traditional violin concerto that showcases virtuosity, this piece invites listeners into a shared experience of cultural roots, fostering a universally relatable connection,” she said. “Imogen was undoubtedly driven by a strong sense of obligation to guide younger generations and to emphasize music’s vital role in uniting communities. A key aspect of this was her commitment to preserving and promoting folk song traditions. This concerto embodies that mission.”
Komachi points out Holst’s incorporation of folk dance as a signature element in her compositions. “You will often hear memorable, lyrical tunes supported by intriguing harmonies. In her book Tune (1962), she begins by stating, ‘English musicians are fortunate to possess the word ‘tune.'”
“The concept of ‘tune’ rather than ‘melody’ seems to define her approach. There’s a comforting familiarity in her music — the kind that will likely have audiences humming the tunes as they leave the concert hall!”
Performing on a Giuseppe Pedrazzini violin and a François Lupot bow, Komachi feels honored to give the concerto its first public performance alongside conductor Adrian Brown, who knew Holst personally.
“I am deeply grateful to the Archive, Britten Pears Arts, for their invaluable support, and to Colin Matthews at the Holst Foundation for bringing the score publication to life through Faber Music.”
Related Topics
- Organ and Trumpet Concert Celebrates Bach on November 1st
- Thirteenth Gulangyu Piano Art Week Kicks Off, Celebrating Romantic Cultural Heritage
- Hungarian Pianist Alex Sziráky Performs Solo Concert in Fuzhou, China
