Genre
|
H.
|
Opus
|
Date
|
Title
|
Scoring
|
Notes
|
Opera |
7 |
1 |
1895 |
The Revoke |
|
Opera in 1 act; libretto by Fritz Hart
|
Opera |
21 |
|
1896 |
The Idea |
|
Children's Operetta
|
Opera |
60 |
11 |
1902 |
The Youth's Choice |
|
Musical Idyll in 1 act; libretto by the composer
|
Opera |
89 |
23 |
1899–1906 |
Sita |
|
Opera in 3 acts based on the story of Rama and Sita from the Ramayana; not performed until October 2024.[1]
|
Opera |
96 |
25 |
1908 |
Sāvitri |
|
Chamber Opera in 1 act; libretto by the composer based on the episode of Savitri and Satyavan from the Mahābhārata
|
Opera |
150 |
39 |
1918–22 |
The Perfect Fool |
|
Comic Opera in 1 act; libretto by the composer; revised as a ballet 1922
|
Opera |
156 |
42 |
1924 |
At the Boar's Head |
|
Opera in 1 act; libretto by the composer based on William Shakespeare's Henry IV, Part 1 and Part 2
|
Opera |
176 |
50 |
1929–30 |
The Wandering Scholar |
|
Chamber Opera in 1 act; libretto by Clifford Bax founded on an incident in Helen Waddell's The Wandering Scholars.
|
Ballet |
149 |
|
1921 |
The Lure, or The Moth and the Flame |
|
|
Ballet |
150 |
39 |
1918–22 |
The Perfect Fool |
|
1922 revision of the opera; libretto by the composer
|
Ballet |
163 |
45/1 |
1926 |
The Golden Goose |
|
Choral Ballet; for chorus and orchestra; founded on the tale of the Brothers Grimm, adapted by Jane M. Joseph
|
Ballet |
164 |
45/2 |
1926–27 |
The Morning of the Year |
|
Choral Ballet; for chorus and orchestra; words by Steuart Wilson
|
Incidental music |
|
|
1905 |
Stratford Revels |
|
|
Incidental music |
94 |
|
1905 |
Nabou, or Kings in Babylon |
|
|
Incidental music |
101 |
27a |
1909 |
The Vision of Dame Christian - Prelude
- First Chorus: "Knowest thou not the warning"
- Hymn: "Oh let us render thanks to God above"
- Choral Dance: "How shall we tell of him"
- Finale
|
|
Masque; music for the play by Frances Ralph Gray
|
Incidental music |
102 |
27b |
1909 |
Stepney Children's Pageant |
for orchestra |
|
Incidental music |
102a |
27b |
1909 |
A Song of London |
for unison chorus and piano |
from the incidental music for Stepney Children's Pageant; words by G.K. Menzies
|
Incidental music |
114 |
|
1910 |
The Praise of King Olaf - Trumpet Calls
- First Battle Music
- The Raven Song
- Biarkamal
- Second Battle Music
- The Praise of King Olaf
|
for chorus and military band |
Part 1 Scene 4 of The Pageant of London[2]
|
Incidental music |
122 |
|
1914 |
Philip the King[3] |
|
Incidental Music to the play by John Masefield
|
Incidental music |
143 |
|
1918 |
The Sneezing Charm |
for mezzo-soprano and orchestra |
|
Incidental music |
146 |
|
1920 |
7 Choruses from the Alcestis of Euripides - O Paian Wise!
- Daughter of Pelias, Fare Thee Well
- Oh, a House That Loves the Stranger
- Ah Me! Farewell
- Advance, Advance
- I Have Sojourned in the Muses' Land
- There Be Many Shapes of Mystery
|
for unison voices, 3 flutes and harp |
for the play by Euripides in translation by Gilbert Murray
|
Incidental music |
|
|
1921 |
St. Martin's Pageant |
|
|
Incidental music |
170 |
|
1927 |
The Coming of Christ - First Song of the Host of Heaven
- Song of the Four Angels
- Second Song of the Host of Heaven
- First Song of the Kings
- Second Song of the Kings
- The Antiphonal
- The Song of the Coming of Christ
|
for soprano, tenor, baritone, bass, mixed chorus, trumpet, piano, organ and string orchestra ad libitum |
Incidental music for a Mystery Play
|
Incidental music |
180 |
|
1930 |
The Passing of the Essenes: 2 Chants - In the Lord Put I My Trust
- All the Powers of the Lord
|
for unison male chorus |
for the play by George Moore
|
Incidental music |
|
|
1933–1934 |
The Song of Solomon |
|
|
Film score |
184 |
|
1931 |
The Bells |
|
directed by Harcourt Templeman
|
Orchestral |
|
|
1891 |
Intermezzo |
for orchestra |
|
Orchestral |
31 |
|
1897 |
A Winter Idyll |
for orchestra |
|
Orchestral |
41 |
|
1898 |
Suite in G minor |
for string orchestra |
|
Orchestral |
42 |
7 |
1899 |
Walt Whitman |
for orchestra |
Overture
|
Orchestral |
43 |
10 |
1899, 1912 |
Suite de ballet in E♭ major - Danse rustique
- Valse
- Scène de nuit
- Carnival
|
for orchestra |
revised 1912; originally Op. 8
|
Orchestral |
47 |
8 |
1899–1900 |
Symphony in F major "The Cotswolds" - Allegro con brio
- Elegy (In Memoriam William Morris)
- Scherzo
- Finale
|
for orchestra |
originally Op. 10
|
Orchestral |
54 |
|
1903? |
Greeting |
for orchestra |
original version for violin and piano
|
Orchestral |
66 |
13 |
1903 |
Indra |
for orchestra |
Symphonic Poem
|
Orchestral |
86 |
21/1 |
1906, 1907 |
Songs of the West |
for orchestra |
revised 1907
|
Orchestral |
87 |
21/2 |
1906, 1907 |
A Somerset Rhapsody |
for orchestra |
revised 1907
|
Orchestral |
88 |
22 |
1906 |
2 Songs without Words - Country Song
- Marching Song
|
for chamber orchestra |
No. 2 also for small military band
|
Orchestral |
107 |
29/1 |
1909–1910 |
Beni Mora: Oriental Suite - First Dance
- Second Dance
- Finale: In the Street of Ouled Naïls
|
for orchestra |
|
Orchestral |
|
|
1910 |
Morris Dance Tunes
Set I - Bean Setting
- Laudnum Bunches
- Country Gardens
- Constant Billy
- Trunkles
- Morris Off
Set II - Rigs o' Marlow
- Bluff King Hal
- How d'ye do, sir?
- Shepherd's Hey
- The Blue-eyed Stranger
- Morris Off
|
for orchestra |
|
Orchestral |
108 |
(29/2) |
1911 |
Phantastes, Suite in F major |
for orchestra |
withdrawn, originally Op. 29 No. 2
|
Orchestral |
118 |
29/2 |
1912–1913 |
St Paul's Suite - Jig
- Ostinato
- Intermezzo
- Finale: The Dargason
|
for string orchestra |
dedicated to the orchestra at St Paul's Girls' School; Finale is an arrangement of 4th movement in Second Suite.[4]
|
Orchestral |
125 |
32 |
1914–1916 |
The Planets - Mars, the Bringer of War
- Venus, the Bringer of Peace
- Mercury, the Winged Messenger
- Jupiter, the Bringer of Jollity
- Saturn, the Bringer of Old Age
- Uranus, the Magician
- Neptune, the Mystic
|
for orchestra and female chorus |
original version for 2 pianos
4. main theme: "I Vow to Thee, My Country"
|
Orchestral |
126 |
33 |
1915 |
Japanese Suite [ja] - Prelude: Song of the Fisherman
- Ceremonial Dance
- Dance of the Marionette
- Interlude: Song of the Fisherman
- Dance under the Cherry Tree
- Finale: Dance of the Wolves
|
for orchestra |
|
Orchestral |
151 |
40/1 |
1922 |
A Fugal Overture |
for orchestra |
|
Orchestral |
172 |
47 |
1927 |
Egdon Heath (A Homage to Thomas Hardy) |
for orchestra |
title taken from Thomas Hardy's fictitious area Egdon Heath
|
Orchestral |
|
|
1928 |
Nocturne from "A Moorside Suite" |
for string orchestra |
|
Orchestral |
|
|
1928 |
Fugue à la Gigue |
for orchestra |
original work Fugue in G major, BWV 577 by Johann Sebastian Bach; arrangement by Holst; also for band
|
Orchestral |
178 |
52 |
1930, 1931 |
Hammersmith |
for orchestra |
original for military band; orchestral version (1931) premiered at the same 1931 concert as William Walton's Belshazzar's Feast
|
Orchestral |
185 |
|
1932 |
Jazz-Band Piece (Mr. Shilkret's Maggot) |
for orchestra |
revised by Imogen Holst as "Capriccio" (1967)
|
Orchestral |
190 |
|
1933 |
Brook Green Suite |
for string orchestra with flute, oboe and clarinet ad libitum |
|
Orchestral |
190a |
|
1933 |
Gavotte |
for string orchestra with flute, oboe and clarinet ad libitum |
originally intended for Brook Green Suite
|
Orchestral |
192 |
|
1933–1934 |
Scherzo |
for orchestra |
part of an unfinished Symphony
|
Band |
|
|
|
Three Folk Tunes |
for small military band[2] |
|
Band |
88 |
22 |
1906 |
Marching Song |
for small military band |
No. 2 from 2 Songs without Words
|
Band |
105 |
28/1 |
1909 |
First Suite in E-flat |
for military band |
|
Band |
106 |
28/2 |
1911 |
Second Suite in F - March: Morris Dance, Swansea Town, Claudy Banks
- Song Without Words: "I'll Love My Love"
- Song of the Blacksmith
- Fantasia on the Dargason
|
for military band |
1. also known as Three Folk Tunes or March on Three Folk Tunes
|
Band |
|
|
1928 |
Fugue à la Gigue |
|
original work Fugue in G major, BWV 577 by Johann Sebastian Bach; arrangement by Holst; also for orchestra
|
Band |
173 |
|
1928 |
A Moorside Suite |
for brass band |
unfinished transcription for military band by Holst (Scherzo and 38 bars of Nocturne);[2] The whole work transcribed by Gordon Jacob in 1952 and Denis Wright in 1937[5]
|
Band |
178 |
52 |
1930 |
Hammersmith |
for military band |
also for orchestra (1931); premiered by the US Marine Band on 17 April 1932[4]
|
Concertante |
74 |
19/1 |
1905 |
A Song of the Night |
for violin and orchestra |
|
Concertante |
75 |
19/2 |
1911 |
Invocation |
for cello and orchestra |
|
Concertante |
152 |
40/2 |
1923 |
A Fugal Concerto |
for flute, oboe (or 2 violins) and string orchestra |
|
Concertante |
175 |
49 |
1929 |
Double Concerto - Scherzo
- Lament
- Variations on a Ground
|
for 2 violins and orchestra |
|
Concertante |
191 |
|
1933 |
Lyric Movement |
for viola and small orchestra |
dedicated to violist Lionel Tertis
|
Chamber music |
|
|
1893 |
Theme and Variations |
for 2 violins, viola and cello |
|
Chamber music |
|
|
1894 |
Air and Variations |
for 2 violins, viola, cello and piano |
|
Chamber music |
|
|
1894 |
Duo Concertante (Duet) |
for trombone and organ |
|
Chamber music |
|
|
1894 |
String Trio in G minor |
for violin, viola and cello |
|
Chamber music |
8 |
2 |
1896 |
Fantasiestücke |
for oboe, 2 violin, viola and cello |
revised as 3 Pieces in 1910
|
Chamber music |
8a |
2 |
1896, 1910 |
3 Pieces |
for oboe, 2 violin, viola and cello |
1910 revision of Fantasiestücke
|
Chamber music |
9 |
|
1896 |
Variations |
for oboe, clarinet, bassoon, violin, viola and cello |
|
Chamber music |
10 |
|
1896 |
Sextet in E minor |
for oboe, clarinet, bassoon, violin, viola and cello |
|
Chamber music |
11 |
3 |
1896 |
Quintet in A minor - Allegro moderato
- Scherzo, Allegro vivace
- Adagio
- Allegro con brio
|
for oboe, clarinet, horn, bassoon and piano |
|
Chamber music |
23 |
|
1897 |
Scherzo |
for 2 violins, 2 violas and cellos |
|
Chamber music |
|
|
1901–1902 |
6 Solos: Nos. 1-5 |
for violin |
|
Chamber music |
51 |
|
1902? |
Lied ohne Worte |
for violin and piano |
|
Chamber music |
52 |
|
1903? |
A Spring Song |
for violin (or cello) and piano |
|
Chamber music |
53 |
|
1903 |
Ländler |
for 2 violins and piano |
|
Chamber music |
54 |
|
1903? |
Greeting |
for violin and piano |
also for orchestra
|
Chamber music |
55 |
|
1904? |
Maya |
for violin and piano |
|
Chamber music |
56 |
|
1904? |
Valse-Étude |
for violin and piano |
dedicated to Marie Hall
|
Chamber music |
67 |
14 |
1903 |
Quintet for Winds in A♭ major - Allegro moderato
- Adagio
- Minuet (in Canon) and Trio
- Theme and Variations: Poco allegro e cantabile
|
for flute, oboe, clarinet, horn and bassoon |
|
Chamber music |
93 |
|
1906 |
7 Scottish Airs |
for 2 violins, viola, cello and piano |
|
Chamber music |
135 |
36 |
1916 |
Phantasy Quartet on British Folk Songs |
for 2 violins, viola and cello |
|
Chamber music |
158 |
|
1925 |
Terzetto |
for flute, oboe and viola |
|
Organ |
|
|
1891 |
4 Voluntaries |
for organ |
|
Piano |
|
|
1892 |
Arpeggio Study |
for piano |
|
Piano |
|
|
1893 |
Introduction and Bolero |
for piano 4-hands |
|
Piano |
5 |
|
1895 |
Dances |
for piano 4-hands |
|
Piano |
6 |
|
1899 |
Duet in D major |
for piano 4-hands |
|
Piano |
50 |
|
1901 |
2 Pieces (Deux Pièces) |
for piano |
|
Piano |
125 |
32 |
1914–1916 |
The Planets - Mars, the Bringer of War
- Venus, the Bringer of Peace
- Mercury, the Winged Messenger
- Jupiter, the Bringer of Jollity
- Saturn, the Bringer of Old Age
- Uranus, the Magician
- Neptune, the Mystic
|
for 2 pianos |
also orchestrated 4. main theme: "I Vow to Thee, My Country"
|
Piano |
153 |
|
1924 |
Toccata |
for piano |
founded on the Northumbrian pipe-tune "Newburn Lads"
|
Piano |
154 |
|
1924 |
A Piece for Yvonne |
for piano |
|
Piano |
165 |
46/1 |
1926 |
Chrissemas Day in the Morning |
for piano |
founded on a tune from North Countrie Ballads
|
Piano |
166 |
46/2 |
1927 |
2 Folk Song Fragments (2 Northumbrian Folk Tunes) - O! I Hae Seen the Roses Blaw
- The Shoemakker
|
for piano |
founded on a tune from North Countrie Ballads
|
Piano |
179 |
|
1930–1932 1930 1932 |
2 Pieces |
for piano |
|
Vocal |
|
|
1891 |
The Harper |
for voice and piano |
|
Vocal |
|
|
1891 |
Die Sprode |
for voice and piano |
|
Vocal |
|
|
1891–1892 |
There Is Dew for the Flow'ret |
for voice and piano |
|
Vocal |
|
|
1892 |
I Come from Haunts of Coot and Hern |
for voice and piano |
|
Vocal |
|
|
1892 |
Sing Heigh-Ho! |
for voice and piano |
1st setting
|
Vocal |
|
|
1893 |
Anna-Marie |
for voice and piano |
|
Vocal |
|
|
1893 |
A Lake and a Fairy Boat |
for voice and piano |
1st setting
|
Vocal |
|
|
1893 |
There Sits a Bird on Yonder Tree |
for voice and piano |
|
Vocal |
|
|
1893 |
The White Lady's Farewell |
for voice and piano |
|
Vocal |
|
|
1890s |
The Exile of Erine |
for voice and piano |
|
Vocal |
4 |
|
1895, 1897 |
O Lady, Leave That Silken Thread |
for baritone and piano |
original version (1895) for mixed chorus a cappella; words by Thomas Hood
|
Vocal |
14 |
4 |
1896–1898 |
4 Songs - Slumber-Song
- Margrete's Cradle-Song
- Soft and Gently
- Awake, My Heart
|
for voice and piano |
1. words by Charles Kingsley 2. words by Henrik Ibsen in translation by William Archer 3. words from Heinrich Heine 4. words by Robert Bridges
|
Vocal |
17 |
|
1897 |
Song to the Sleeping Lady |
for voice and piano |
words by George MacDonald
|
Vocal |
19 |
|
1901–1902 |
The Ballade of Prince Eric |
for voice and piano |
words by Fritz Hart
|
Vocal |
25 |
|
1897 |
A Lake and a Fairy Boat |
for voice and piano |
2nd setting; words by Thomas Hood
|
Vocal |
26 |
|
1897 |
Sing Heigh-Ho! |
for voice and piano |
2nd setting; words by Charles Kingsley
|
Vocal |
27 |
|
1897 |
Airly Beacon |
for voice and piano |
words by Charles Kingsley
|
Vocal |
28 |
|
1890s |
Twin Stars Aloft |
for voice and piano |
words by Charles Kingsley
|
Vocal |
29 |
|
1890s |
The Day of the Lord |
for voice and piano |
words by Charles Kingsley
|
Vocal |
32 |
|
1897 |
Not a Sound But Echoing in Me |
for voice and piano |
words by George MacDonald
|
Vocal |
33 |
|
1898 |
Whether We Die or Live |
for voice and piano |
words by George Meredith
|
Vocal |
34 |
6 |
1898, 1900 |
Örnulf's Drapa |
for baritone and orchestra |
revised 1900; words by Henrik Ibsen in translation by William Archer
|
Vocal |
35 |
|
1890s |
Autumn Song |
for voice and piano |
words by Robert Bridges
|
Vocal |
36 |
|
1898 |
My Joy |
for voice and piano |
words by Robert Bridges
|
Vocal |
37 |
|
1890s |
Draw Not Away Thy Hands |
for voice and piano |
words by William Morris
|
Vocal |
38 |
|
1890s |
I Scanned Her Picture |
for voice and piano |
|
Vocal |
39 |
|
1890s |
Two Brown Eyes |
for voice and piano |
|
Vocal |
44 |
|
1898–1899 |
Bhanavar's Lament |
for voice and piano |
words by George Meredith
|
Vocal |
45 |
|
1890s |
Ah, Come, Fair Mistress |
for voice and piano |
words by Walter E. Grogan
|
Vocal |
|
|
1900 |
She Who Is Dear to Me |
for voice and piano |
words by Walter E. Grogan
|
Vocal |
62 |
|
1903 |
A Prayer for Light |
for voice and piano |
words by Eric Mackay
|
Vocal |
63 |
|
1904 |
Dewy Roses |
for voice and piano |
words by Alfred H. Hyatt
|
Vocal |
64 |
|
1903 |
Song of the Woods |
for voice and piano |
words by Alfred H. Hyatt
|
Vocal |
65 |
|
1902–1903 |
To a Wild Rose |
for voice and piano |
words by Alfred H. Hyatt
|
Vocal |
68 |
15 |
1902–1903 |
6 Songs - Invocation to the Dawn
- Fain Would I Change That Note
- The Sergeant's Song
- In a Wood
- Between Us Now
- I Will Not Let Thee Go
|
for baritone and piano |
1. words translated from Rig Veda by the composer 2. words by anonymous 3.~5. words by Thomas Hardy 6. Words by Robert Bridges
|
Vocal |
69 |
16 |
1903–1904 |
6 Songs - Calm Is the Morn
- My True Love Hath My Heart
- Weep You No More, Sad Fountains
- Lovely Kind and Kindly Loving
- Cradle Song
- Peace
|
for soprano and piano |
1. words by Alfred, Lord Tennyson 2. words by Philip Sidney 3. words by anonymous 4. words by Nicholas Breton 5. words by William Blake 6. words by Alfred H. Hyatt
|
Vocal |
71 |
18 |
1904, 1912 |
The Mystic Trumpeter, Scena |
for soprano and orchestra |
revised 1912; setting of the poem "From Noon to Starry Night" by Walt Whitman; Colin Matthews notes that while Holst had not yet developed a musical style of his own, this early work shows "conviction and individuality", and has "few parallels in British music of this period".[6]
|
Vocal |
72 |
|
1904–1905 |
Darest Thou Now, O Soul |
for voice and piano |
words by Walt Whitman
|
Vocal |
77 |
|
1890s |
Now Sleep and Take They Rest |
for voice and piano |
words by James Mabbe after Fernando de Rojas
|
Vocal |
79 |
|
1900s |
To Hope |
for voice and piano |
words by anonymous
|
Vocal |
83 |
|
1906–1908 |
16 Folk Songs from Hampshire - Abroad as I Was Walking
- Lord Dunwaters
- The Irish Girl
- Young Reilly
- The New-mown Hay
- The Willow Tree
- Beautiful Nancy
- Sing Ivy
- John Barleycorn
- Bedlam City
- The Scolding Wife
- The Squire and the Thresher
- The Happy Stranger
- Young Edwin in the Lowlands Low
- Yonder Sits a Fare Young Damsel
- Our Ship She Lies in Harbour
|
for voice and piano |
folk song arrangements by Holst
|
Vocal |
84a |
|
1906–1907 |
Stu Mo Run |
for voice and piano |
Scottish folk song; arrangement by Holst
|
Vocal |
84 |
|
1906–1914 |
9 Folk Songs - Sovay
- The Seeds of Love
- The Female Farmer
- Thorneyfield Woods
- Moorfields
- I'll Love My Love
- Claudy Banks
- On the Banks of the Nile
- Here's Adieu
|
for voice and piano |
folk song arrangements by Holst
|
Vocal |
95 |
|
1907 |
The Heart Worships |
for voice and piano |
words by Alice M. Buckton
|
Vocal |
90 |
24 |
1907–1908 |
Hymns from the Rig Veda (Vedic Hymns)
- First Group
- Ushas (Dawn)
- Varuna I (Sky)
- Maruts (Stormclouds)
Second Group - Indra (God of Storm and Battle)
- Varuna II (The Waters)
- Song of the Frogs
Third Group - Vac (Speech)
- Creation
- Faith (Sraddha)
|
for medium voice and piano |
English words translated from the Sanskrit by the composer
|
Vocal |
90a |
(24) |
1907 |
Ratri (The Night) |
for medium voice and piano |
originally included in Op. 24
|
Vocal |
123 |
|
1914? |
A Vigil of Pentecost |
for voice and piano |
words by Alice M. Buckton
|
Vocal |
|
|
1911 |
Glory of the West |
for voice and piano |
arrangement by Holst
|
Vocal |
132 |
35 |
1916–1917 |
4 Songs - Jesu Sweet, Now Will I Sing
- My Soul Has Nought But Fire and Ice
- I Sing of a Maiden That Matchless Is
- My Leman Is So True
|
for soprano (or tenor) and violin |
|
Vocal |
141 |
|
1918 |
May Day Carol |
for voice and 2 violins |
|
Vocal |
147 |
|
1920s |
The Ballad of Hunting Knowe |
for voice and piano |
words by E. A. Ramsden
|
Vocal |
|
|
1920s |
He-Back She-Back |
for voice and piano |
|
Vocal |
174 |
48 |
1929 |
12 Songs - Persephone
- Things lovelier
- Now in these Fairylands
- A Little Music
- The Thought
- The Floral Bandit
- Envoi
- The Dream-City
- Journey's End
- In the Street of Lost Time
- Rhyme
- Betelgeuse
|
for soprano and piano |
words by Humbert Wolfe
|
Vocal |
174a |
(48) |
1929 |
Epilogue |
for soprano and piano |
words by Humbert Wolfe; originally intended for Op. 48
|
Vocal |
|
|
1930 |
God Be in My Head |
for voice and piano |
|
Choral |
|
|
1887 |
Horatius |
for mixed chorus and orchestra |
|
Choral |
|
|
1890 |
A Christmas Carol |
for mixed chorus and piano |
|
Choral |
|
|
1891–1892 |
Sailor's Chorus |
for male chorus and orchestra |
|
Choral |
|
|
1891–1892 |
The Strain Upraise |
for unison voices and piano |
|
Choral |
|
|
1891–1892 |
Advent Litany |
for unison voices and piano |
|
Choral |
|
|
1892 |
Sanctus |
for unison voices and organ |
|
Choral |
|
|
1892 |
New Year Chorus |
for mixed chorus and piano |
|
Choral |
|
|
1892 |
Ode to the North East Wind |
for male chorus and orchestra |
|
Choral |
|
|
1893–1894 |
Winter and the Birds |
for mixed chorus and piano |
|
Choral |
|
|
1894 |
Love Wakes and Weeps |
for mixed chorus a cappella |
|
Choral |
|
|
1894 |
Ave Maria, Maiden Mild |
for female chorus a cappella |
|
Choral |
|
|
1894 |
Fathoms Deep Beneath the Wave |
for female chorus a cappella |
|
Choral |
|
|
1894 |
Now Winter's Winds Are Banished |
for female chorus a cappella |
|
Choral |
|
|
1894 |
Summer's Welcome |
for female chorus a cappella |
|
Choral |
|
|
1894 |
Winter and the Birds |
for female chorus a cappella |
|
Choral |
1 |
|
1895 |
The Autumn Is Old |
for mixed chorus a cappella |
words by Thomas Hood
|
Choral |
2 |
|
1895 |
The Stars Are with the Voyager |
for mixed chorus a cappella |
words by Thomas Hood
|
Choral |
3 |
|
1895 |
Spring It Is Cheery |
for mixed chorus a cappella |
words by Thomas Hood
|
Choral |
4 |
|
1895 |
O Lady, Leave That Silken Thread |
for mixed chorus a cappella |
words by Thomas Hood; also for baritone and piano
|
Choral |
12 |
|
1890s |
All Night I Waited by the Spring |
for female chorus a cappella |
|
Choral |
13 |
4 |
1896 |
3 Short Part-Songs - In the Forest Moonbeam-Brightened
- All the Nests with Song Are Ringing
- Soft and Gently through My Soul
|
for female chorus a cappella |
words translated from Heinrich Heine
|
Choral |
15 |
|
1896 |
There's a Voice in the Wind |
for mixed chorus a cappella |
|
Choral |
16 |
|
1896 |
The Kiss |
for mixed chorus a cappella |
words by Ben Jonson
|
Choral |
18 |
|
1890s |
Ah Tyrant Love |
for mixed chorus a cappella |
words by Charles Kingsley
|
Choral |
20 |
|
1896 |
Light Leaves Whisper |
for mixed chorus a cappella |
words by Fritz Hart
|
Choral |
22 |
|
1893–1896 |
Not Unto Us, O Lord |
for mixed chorus and organ (or piano) |
Biblical words: Psalm 115
|
Choral |
24 |
|
1897 |
O Spring's Little Children |
for female chorus a cappella |
words by Francis Thompson
|
Choral |
30 |
5 |
1897 |
Clear and Cool |
for mixed chorus and orchestra |
words by Charles Kingsley
|
Choral |
40 |
|
1898 |
Clouds o'er the Summer Sky, Canon |
for female chorus (2 sopranos) and piano |
words by Fritz Hart
|
Choral |
|
|
1899 |
Autumn Song |
for female chorus a cappella |
words by Francis Thompson; also for mixed chorus a cappella, Op. 9a No. 2
|
Choral |
48 |
9a |
1897–1900 |
5 Part-Songs - Love Is Enough
- To Sylvia
- Autumn
- Come Away, Death
- A Love Song
|
for mixed chorus a cappella |
1. words by William Morris 2. words by Francis Thompson; also for female chorus a cappella (1899) 3. words by William Morris 4. words by William Shakespeare 5. words by William Morris
|
Choral |
49 |
9b |
1900 |
Ave Maria |
for female chorus a cappella |
|
Choral |
57 |
|
1912 |
I love Thee |
for mixed chorus a cappella |
words by Thomas Hood
|
Choral |
58 |
|
1903 |
Thou Didst Delight My Eyes |
for mixed chorus a cappella |
words by Robert Bridges
|
Choral |
59 |
|
1890s |
It Was a Lover and His Lass |
for mixed chorus a cappella |
words by William Shakespeare
|
Choral |
61 |
12 |
1902–1903 |
5 Part-Songs - Dream Tryst
- Ye Little Birds
- Her Eyes the Glow-Worm Lend Thee
- Now Is the Month of Maying
- Come to Me
|
for mixed chorus a cappella |
1. words by Francis Thompson 2. words by Thomas Heywood 3. words by Robert Herrick 4. words by anonymous, 16th century 5. words by Christina Rossetti
|
Choral |
70 |
17 |
1903 |
King Estmere |
for mixed chorus and orchestra |
|
Choral |
73 |
|
1904–1905 |
3 Hymns for the English Hymnal |
for mixed chorus and organ |
1. words by Christina Rossetti 2. words by C. W. Humphreys after Divine Liturgy of St. John Chrysostom 3. words by Frederick William Faber
|
Choral |
76 |
|
1908 |
In Youth Is Pleasure |
for mixed chorus a cappella |
words by Robert Wever
|
Choral |
78 |
|
1908 |
Now Rest Thee from All Care |
for mixed chorus a cappella |
words by anonymous
|
Choral |
80 |
20a |
1905 |
Songs from "The Princess" - Sweet and Low
- The Splendour Falls
- Tears, Idle Tears
- O Swallow, Swallow
- Now Sleeps the Crimson Petal
|
for female chorus a cappella |
words by Alfred, Lord Tennyson
|
Choral |
81 |
|
1905 |
Home They Brought Her Warrior Dead |
for female chorus a cappella |
words from The Princess by Alfred, Lord Tennyson
|
Choral |
82 |
20b |
1907 |
4 Old English Carols - A Babe Is Born
- Now Let Us Sing
- Jesu, Thou the Virgin-born
- The Saviour of the World Is Born (Salvator mundi natus est)
|
for mixed chorus and piano |
words by anonymous
|
Choral |
85 |
|
1904–1919 |
7 Folk Songs - On the Banks of the Nile
- The Willow Tree
- Our Ship She Lies in Harbour
- I'll Love My Love
- Claudy Banks
- John Barleycorn
- Spanish Ladies
|
for unison voices and orchestra (or piano) |
|
Choral |
|
|
1908 |
Adoramus Te Christe [orig. Orlando di Lasso, arr. Holst] |
for female chorus a cappella |
|
Choral |
|
|
1908 |
Benedictus [orig. William Byrd, arr. Holst] |
for female chorus a cappella |
|
Choral |
|
|
1908 |
Help Me, O Lord [orig. Thomas Augustine, arr. Holst] |
for female chorus a cappella |
|
Choral |
|
|
1908 |
How Merrily We Live [orig. Michael Este, arr. Holst] |
for female chorus a cappella |
|
Choral |
|
|
1908 |
2 Part-Songs |
for mixed chorus a cappella |
|
Choral |
91 |
|
1907–1908 1916 |
2 Carols - A Welcome Song
- Terly, Terlow
|
for mixed chorus, oboe and cello |
words by anonymous Old English Carols
|
Choral |
92 |
|
1909 |
Pastoral |
for female chorus a cappella |
|
Choral |
97 |
26 |
1908 |
Choral Hymns from the Rig Veda, First Group - Battle Hymn
- Hymn to the Unknown God
- Funeral Hymn
|
for mixed chorus and orchestra (or piano) |
English words translated from the Sanskrit by the composer
|
Choral |
98 |
26 |
1909 |
Choral Hymns from the Rig Veda, Second Group - To Varuna (God of the Waters)
- To Agni (God of Fire)
- Funeral Chant
|
for female chorus and orchestra (or piano) |
English words translated from the Sanskrit by the composer
|
Choral |
99 |
26 |
1910 |
Choral Hymns from the Rig Veda, Third Group - Hymn to the Dawn
- Hymn to the Waters
- Hymn to Vena
- Hymn of the Travellers
|
for female chorus and harp (or piano) |
English words translated from the Sanskrit by the composer
|
Choral |
100 |
26 |
1912 |
Choral Hymns from the Rig Veda, Fourth Group - Hymn to Agni (The Sacrificial Fire)
- Hymn to Soma
- Hymn to Manas
- Hymn to Indra
|
for male chorus and string orchestra with brass ad libitum (or piano) |
English words translated from the Sanskrit by the composer
|
Choral |
103 |
|
1909 |
O England, My Country |
for unison voices and orchestra (or piano) |
words by G. K. Menzies
|
Choral |
104 |
|
1909 |
A Song of Fairies |
for female chorus a cappella |
|
Choral |
109 |
|
1910 |
Christmas Day: Choral Fantasy on Old Carols - Good Christian Men Rejoice
- God Rest You Merry Gentlemen
- Come Ye Lofty, Come Ye Lowly
- The First Nowell
|
for mixed chorus and orchestra (or organ) |
|
Choral |
|
|
1910 |
Old Airs and Glees [arr. Holst] |
for female chorus a cappella |
|
Choral |
110 |
|
1910 |
4 Part-Songs - Song of the Shipbuilders
- Song of the Shoemakers
- Song of the Fishermen
- Song of the Drovers
|
for children's chorus and piano |
words by John Greenleaf Whittier
|
Choral |
111 |
30 |
1910–1912 |
The Cloud Messenger, Ode |
for alto, mixed chorus and orchestra |
founded on a Sanskrit poem of Kālidāsa; words translated by the composer
|
Choral |
112 |
|
1911 |
2 Eastern Pictures |
for female chorus and harp (or piano) |
words translated by the composer from Kālidāsa
|
Choral |
113 |
|
1911 |
In Loyal Bonds United: Empire Day Song |
for unison voices and piano |
words by Shapcott Wensley
|
Choral |
|
|
1912 |
News From Whydah [orig. Henry Balfour Gardiner, orch. Holst] |
for mixed chorus and orchestra |
|
Choral |
|
|
1912 |
Lord, Who Hast Made Us For Thine Own: No. 2 of the Two Psalms |
for female chorus and orchestra |
|
Choral |
115 |
31/1 |
1911 |
Hecuba's Lament |
for alto, female chorus and string orchestra |
words by Gilbert Murray after Euripides
|
Choral |
116 |
31/2 |
1913 |
Hymn to Dionysus |
for female chorus and orchestra |
words by Gilbert Murray after Euripides
|
Choral |
117 |
|
1912 |
2 Psalms - Psalm 86
- Psalm 148 (Lord, Who Hast Made Us For Thine Own)
|
for mixed chorus, organ (or brass) and string orchestra |
1. with tenor solo also for female chorus and orchestra (or organ, or piano)
|
Choral |
118a |
|
1911 |
Playground Song |
for unison voices and piano |
for St Paul's Girls' School
|
Choral |
119 |
|
1913 |
The Swallow Leaves Her Nest |
for female chorus a cappella |
words by Thomas Lovell Beddoes
|
Choral |
120 |
|
1913 |
The Homecoming |
for male chorus a cappella |
words by Thomas Hardy
|
Choral |
121 |
|
1914 |
A Dirge for Two Veterans |
for male chorus, brass and percussion |
words by Walt Whitman
|
Choral |
124 |
|
1915 |
Dirge and Hymeneal |
for female chorus and piano (or harp) |
words by Thomas Lovell Beddoes
|
Choral |
127 |
|
1915 |
Nunc Dimittis |
for mixed chorus a cappella |
|
Choral |
128 |
34/1 |
1916 |
This Have I Done for My True Love |
for mixed chorus a cappella |
|
Choral |
129 |
34/2 |
1916 |
Lullay My Liking |
for soprano and mixed chorus a cappella |
|
Choral |
130 |
34/3 |
1916 |
Of One That Is So Fair and Bright |
for soprano, alto, tenor, bass and mixed chorus a cappella |
|
Choral |
131 |
34/4 |
1916 |
Bring Us in Good Ale |
for mixed chorus a cappella |
|
Choral |
|
|
1916 |
Personent hodie, Christmas Song |
for unison chorus and orchestra |
arrangement by Holst; Latin text and melody from Piæ Cantiones
|
Choral |
|
|
1916 |
Short Communion Service |
for equal voices a cappella |
original work by William Byrd; arrangement by Holst
|
Choral |
133 |
|
1916–1917 |
3 Carols - I Saw Three Ships
- Christmas Song
- Masters in This Hall
|
for unison voices and orchestra |
2. words by Jane M. Joseph after Piæ Cantiones 3. words by William Morris
|
Choral |
134 |
36a |
1916 |
3 Festival Choruses - Let All Mortal Flesh Keep Silence
- Turn Back, O Man
- A Festival Chime
|
for mixed chorus and orchestra |
1. words by Gerard Moultrie after Biblical or other sacred texts 2.~3. words by Clifford Bax
|
Choral |
136 |
36b |
1916 |
6 Choral Folk Songs - I Sowed the Seeds of Love
- There Was a Tree
- Matthew, Mark, Luke and John
- The Song of the Blacksmith
- I Love My Love
- Swansea Town
|
for mixed chorus a cappella |
1., 3.~6. also for male chorus a cappella
|
Choral |
137 |
|
1916 |
Diverus and Lazarus |
for mixed chorus a cappella |
|
Choral |
138 |
|
1917 |
2 Part-Songs for Children - The Corn Song
- Song of the Lumbermen
|
for children's chorus and piano |
words by John Greenleaf Whittier
|
Choral |
139 |
|
1917 |
A Dream of Christmas |
for female chorus and string orchestra (or piano) |
|
Choral |
142 |
|
1916–1917 |
Here Is Joy for Every Age |
for female chorus a cappella |
words by John Mason Neale after "Ecce novum gaudium"
|
Choral |
|
|
1916–1919 |
All People That on Earth Do Dwell [arr. Holst] |
for mixed chorus and orchestra |
|
Choral |
140 |
37 |
1917-1919 |
The Hymn of Jesus |
for 2 mixed choruses, female semi-chorus and orchestra |
text chosen and translated from the Apocryphal Acts of St. John, next to the hymn Pange lingua gloriosi proelium certaminis
|
Choral |
144 |
38 |
1919 |
Ode to Death |
for mixed chorus and orchestra |
words by Walt Whitman
|
Choral |
145 |
|
1919 |
Short Festival Te Deum |
for mixed chorus and orchestra |
|
Choral |
148 |
|
1921, 1918? |
"I Vow to Thee, My Country", Hymn |
for unison voices and orchestra |
based on the theme from the middle section of the Jupiter movement of The Planets; words by Cecil Spring Rice
|
Choral |
155 |
41 |
1923–1924 |
First Choral Symphony - Prelude: Invocation to Pan
- Song and Bacchanal
- Ode on a Grecian Urn
- Scherzo: Fancy
- Folly's Song
- Finale
|
for soprano, mixed chorus and orchestra |
words by John Keats
|
Choral |
157 |
|
1925 |
Ode to C.K.S. and the Oriana |
for mixed chorus a cappella |
for Charles Kennedy Scott and the Oriana Madrigal Society on the 21st foundation day; words by Jane M. Joseph
|
Choral |
159 160 |
43 |
1924 1925 |
2 Motets - The Evening-Watch: Dialogue between Body and Soul
- Sing Me the Men Ere This
|
for mixed chorus a cappella |
1. words by Henry Vaughan 2. words by Digby Mackworth Dolben
|
Choral |
|
|
1925 |
God Is Love, His the Care |
|
Hymn
|
Choral |
161 |
|
1925 |
4 Hymns for Songs of Praise - O Valiant Hearts
- In This World, the Isle of Dreams
- Onward, Christian Soldiers!
- I Sought Thee Round About, O Thou My God
|
|
for the hymnal Songs of Praise 1. words by J. S. Arkwright 2. words by Robert Herrick 3. words by Sabine Baring-Gould 4. words by Percy Dearmer after Thomas Heywood
|
Choral |
162 |
44 |
1925–1926 |
7 Part-Songs - Say Who Is This?
- O Love, I Complain
- Angel Spirits of Sleep
- When First We Met
- Sorrow and Joy
- Love on My Heart from Heaven Fell
- Assemble, All Ye Maidens
|
for soprano, female chorus and string orchestra |
words by Robert Bridges
|
Choral |
|
|
1927 |
O Magnum Mysterium [edt. Holst] |
for mixed chorus a cappella |
|
Choral |
|
|
1927 |
By Weary Stages |
|
Hymn
|
Choral |
|
|
1927 |
Gird on Thy Sword/Lift Up Your Arms |
|
Hymn
|
Choral |
167 |
|
1928 |
Christ Hath a Garden |
for female chorus and small orchestra |
words by Robert Bridges after Isaac Watts
|
Choral |
168 |
|
1927 |
Man Born to Toil |
for mixed chorus, organ and bells ad libitum |
words by Robert Bridges
|
Choral |
169 |
|
1927 |
Eternal Father |
for soprano, mixed chorus, organ and bells ad libitum |
words by Robert Bridges
|
Choral |
171 |
|
1928 |
Canterbury Bells: 2 Rounds - Within This Place All Beauty Dwells
- To Bother Missis Bell
|
for 4 equal voices a cappella |
words by Mabel Rodwell Jones
|
Choral |
177 |
51 |
1930 |
A Choral Fantasia |
for soprano, mixed chorus and orchestra |
words by Robert Bridges
|
Choral |
181 |
|
1931 |
Roadways |
for unison voices and piano |
words by John Masefield
|
Choral |
182 |
|
1931 |
Wassail Song |
for mixed chorus a cappella |
|
Choral |
183 |
|
1930–1931 |
12 Welsh Folk Songs - Lisa Lan
- Green Grass
- The Dove
- Awake, Awake
- The Nightingale and Linnet
- The Mother-In-Law
- The First Love
- O 'Twas on a Monday morning
- My Sweetheart's Like Venus (Mae 'nghariad i'n Fenws)
- White Summer Rose
- The Lively Pair
- The Lover's Complaint
|
for mixed chorus a cappella |
words adapted by Steuart Wilson
|
Choral |
186 |
53 |
1931–1932 |
6 Choruses - Good Friday
- Intercession
- How Mighty Are the Sabbaths
- A Love Song
- Drinking Song
- Before Sleep
|
for male chorus and string orchestra (or piano) |
words from medieval Latin lyrics translated by Helen Waddell
|
Choral |
186a |
(53) |
1931 |
On the Battle Which Was Fought at Fontenoy |
for male chorus and string orchestra (or piano, or organ) |
originally intended for Op. 53; words from medieval Latin lyrics translated by Helen Waddell
|
Choral |
187 |
|
1932 |
8 Canons - If You Love Songs
- Lovely Venus
- The Fields of Sorrow
- David's Lament for Jonathan
- O Strong of Heart
- Truth of All Truth
- Evening on the Moselle
- If 'Twere the Time of Lilies
|
Nos. 1~6 for equal voices a cappella Nos. 7~8 for equal voices and piano |
poems from mediaeval Latin lyrics in translation by Helen Waddell
|
Choral |
188 |
|
1932 |
"O Spiritual Pilgrim" |
for soprano and mixed chorus a cappella |
words by James Elroy Flecker
|
Choral |
189 |
|
1933 |
Come Live with Me |
for 2 equal voices a cappella |
words by Christopher Marlowe
|
|
- |
|
1906 |
Folk Songs from Somerset |
|
thought lost; rediscovered 2017[7]
|