page_title: Imogen Holst
section_title: War: travelling for CEMA
hierarchical_section_title: Imogen Holst / Career / War: travelling for CEMA
caption_attribution_description: English: The Ballet Rambert Visiting An Aircraft Factory in Britain Dancers from the Ballet Rambert, under the auspices of CEMA (Council for the Encouragement of Music and the Arts), visiting an aircraft factory in the Midlands. Photo shows: Lunchtime in the canteen. The factory workers seated at their tables watching a production of 'Peter and the Wolf ' on the stage. A narrator unfolds the plot during the performance.
context_page_description: Imogen Clare Holst CBE was a British composer, arranger, conductor, teacher, musicologist, and festival administrator. The only child of the composer Gustav Holst, she is particularly known for her educational work at Dartington Hall in the 1940s, and for her 20 years as joint artistic director of the Aldeburgh Festival. In addition to composing music, she wrote composer biographies, much educational material, and several books on the life and works of her father.
  From a young age, Holst showed precocious talent in composing and performance. After attending Eothen School and St Paul's Girls' School, she entered the Royal College of Music, where she developed her skills as a conductor and won several prizes for composing. Unable to follow her initial ambitions to be a pianist or a dancer due to health reasons, Holst spent most of the 1930s teaching, and as a full-time organiser for the English Folk Dance and Song Society. These duties reduced her compositional activities, although she made many arrangements of folksongs.
context_section_description: In 1938 Holst decided to abandon amateur music-making and teaching to concentrate on her own professional development. She resigned her EFDSS post while continuing to honour existing commitments to the organisation. She had given up her work at Roedean in 1936; at Easter 1939 she resigned from Eothen. In June 1939 she began a tour of Switzerland which included the Lucerne Festival. Towards the end of August, as war became increasingly likely, she broke off the trip and returned home.
  After the outbreak of war on 3 September 1939, Holst worked for the Bloomsbury House Refugee Committee, which supported German and Austrian refugee musicians interned under emergency regulations. In January 1940 she accepted a position under a scheme organised by the Pilgrim Trust, to act as one of six "music travellers", whose brief was to boost morale by encouraging musical activities in rural communities. Holst was assigned to cover the west of England, a huge area stretching from Oxfordshire to Cornwall. When the government set up the Council for the Encouragement of Music and the Arts (CEMA), responsibility for the music travellers passed to that body.
  With little practical support from CEMA, Holst's organisational talents, according to her friend Ursula Vaughan Williams, "developed brilliantly". According to Holst's own account, her duties included conducting local brass bands and Women's Institute choirs ("fourteen very old women in hats sitting round the edge of a dark, empty hideous tin hut"), and organising sing-songs for evacuee children. She arranged performances by professional groups, and what she termed "drop-in-and-sing" festivals in which anyone could join.  She wrote of "idyllic days" spent over cups of tea, discussing the hopes and dreams of would-be music makers. Her compositional activity in these years was limited by time and pressures of work, but she produced two recorder trios—the Offley and Deddington suites—and made numerous arrangements for female voices of carols and traditional songs.
caption: A CEMA concert during the Second World War (a performance of Prokofiev's Peter and the Wolf by the Ballet Rambert)
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