Gustav Holst – Choral Hymns from the Rig Veda, Op. 26 {Group I-IV} (1908-1912)
First Group, H. 96 No.1 (1908-10), For Chorus and Orchestra
1. Battle Hymn
2. To the Unknown God (2:12)
Second Group, H.98 No.2 (1909), For Women’s Chorus and Orchestra Dedicated to Edward Mason and his Choir
1. To Varuna (7:48)
2. To Agni (14:48)
3. Funeral Chant (16:48)
Third Group, H. 99 No.3 (1910), For Women’s Chorus and Harp
Dedicated to Frank Duckworth and his Ladies’ Choir, Blackburn
1. Hymn to the Dawn (20:02)
2. Hymn to the Waters (23:16)
3. Hymn to Vena (25:01)
4. Hymn of the Travellers (30:20)
Fourth Group, H. 100 No.4 (1912), For Men’s Chorus and Orchestra
2. Hymn to Soma (32:42)
3. Hymn to Manas (34:17)
Royal Philarmonic Orchestra & Chorus conducted by David Willcocks
______
Description by Chris Morrison [-]
The years 1900 through 1912 could be thought of as Holst’s « Sanskrit » period. Inspired by his Theosophist stepmother, Holst developed an interest in the religious literature and poetry of India in his mid-twenties, going so far as to learn the rudiments of the Sanskrit language at University College, London, so that he could make his own translations when he found those that were available unsuitable for his musical settings. His first effort in this vein was the opera Sita (1900-1906); later came works like the opera Sàvitri (1908), the choral work The Cloud Messenger (1909-1910), and the Choral Hymns from the Rig Veda, written over the years 1908 through 1912.
The Rig Veda is a set of over 1000 hymns — singing the praises of the sacred plant soma and gods like Varuna, Agni, and Indra — brought by Indo-European speaking peoples into India somewhere around 1500-1000 B.C. Holst set 14 of these hymns in his four groups of Choral Hymns, which were fairly popular during his lifetime, but have seldom been performed since.
The first group (written in 1908-1910, premiered at Newcastle on December 6, 1911) is scored for mixed chorus and orchestra. It opens with the primitivistic « Battle Hymn, » with its repeated refrain « Indra and Maruts fight for us! » The second hymn, « To the Unknown God, » begins with the chorus singing quietly in unison, and builds to a huge climax over martial rhythms. The set concludes with a « Funeral Hymn. »
The second group (written in 1909, premiered at Queen’s Hall on March 22, 1911) features women’s chorus with orchestra. The mysterious « To Varuna (God of the Waters), » with its quiet, desolate opening and unusual harmonies, is followed by the lively, polyphonic « To Agni (God of Fire) » and the haunting « Funeral Chant. »
The third group (written in 1910, premiered at Blackburn on March 16, 1911) combines women’s chorus with harp accompaniment, the latter’s rippling arpeggios backing the gentle singing of « Hymn to the Dawn. » The unusual time signature of 21/8 is employed in « Hymn to the Waters. » The gentle, beautiful « Hymn to Vena (Sun rising through the mist) » and increasingly elaborate « Hymn of the Travelers » (once considered by Holst for use as an overture to the opera Sàvitri) conclude the group.
The fourth group (written in 1912, premiered at Queen’s Hall on March 18, 1914) is scored for men’s chorus and orchestra, and is generally considered the most conventional and weakest of the four. The opening « Hymn to Agni » is followed by the jaunty « Hymn to Soma (the juice of an herb). » A baritone soloist, representing the spirit of a dying man, opens the first couple of verses and is answered by the chorus in the simple but effective, a cappella « Hymn to Manas. » The group concludes with a « Hymn to Indra. »
THE BEST CLASSICAL MUSIC 