Vaughan Williams and Gustav Holst: A Musical Friendship that Shaped British Music

Ralph Vaughan Williams and Gustav Holst are two towering figures in 20th-century British music, known for their distinct contributions to the classical canon. Their works, from Vaughan Williams’ The Lark Ascending to Holst’s The Planets, have secured places as staples in concert halls worldwide. But what is less often explored is the deep and enduring friendship that existed between these two composers. Over the course of nearly four decades, their creative bond helped shape the trajectory of British music, transforming it from an often overlooked tradition to one of innovation and national identity.

In this article, we’ll delve into how their friendship unfolded, how they influenced each other's work, and why their collaboration remains one of the most significant partnerships in the history of British music.

The Beginning of a Creative Partnership

The friendship between Vaughan Williams and Holst began in 1895 when both composers were studying at the Royal College of Music in London. Vaughan Williams, just returning from his education in Cambridge, was a somewhat reserved character. Holst, by contrast, was more gregarious, and despite their different temperaments, the two quickly bonded over their shared dedication to developing a distinctly British musical voice.

At the time, British classical music was still seen as secondary to the German and French traditions that dominated Europe. Vaughan Williams and Holst were both intent on changing this. They shared a common goal: to bring the unique richness of British folk music, landscapes, and cultural heritage into the realm of classical composition. Yet, their approaches were distinct, and it is precisely this contrast that made their friendship so creatively fruitful.

Influences and Exchanges

One of the most fascinating aspects of their friendship is how they critiqued and shaped each other's work. While many artistic collaborations are defined by competition or rivalry, Vaughan Williams and Holst’s relationship was based on mutual respect and support. Both composers would often exchange scores, offering each other feedback and suggestions with an honesty that only deep friendship can sustain.

Holst’s early influence can be seen in Vaughan Williams’ embrace of orchestral color and form. For instance, it was Holst who introduced Vaughan Williams to the works of European modernists like Ravel and Stravinsky, which led to Vaughan Williams studying orchestration with Ravel in 1908. The result of this influence is perhaps most evident in works like A London Symphony, where Vaughan Williams moves beyond folk song arrangements to a more sophisticated and modern orchestral language.

On the other hand, Vaughan Williams had a profound impact on Holst’s evolution as a composer. Early in his career, Holst struggled to find his own musical voice, often feeling overshadowed by the Germanic traditions he had studied. It was Vaughan Williams who encouraged Holst to explore English folk tunes and church music, sparking the inspiration for works like St. Paul’s Suite and Hammersmith. Holst’s interest in modal harmony and the use of folk material, so prominent in his later works, can be traced back to these discussions.

Shared Ideals and British Identity

Both composers were deeply influenced by British folk music, which they saw as an essential foundation for creating a national style. Vaughan Williams famously traveled the English countryside collecting folk songs, believing that these tunes embodied the spirit of the people. This fascination with the “common man” translated into his music, from symphonies to hymns, which often echo the simplicity and strength of folk melodies.

Holst, while less directly involved in folk song collection, also embraced the English folk tradition. His St. Paul’s Suite is a vivid example of this, blending traditional dance rhythms with modern orchestral writing. Both composers shared a belief that English music could reach new heights not by imitating European models, but by tapping into the country’s own cultural heritage.

Interestingly, their friendship was also shaped by shared political ideals. Both Vaughan Williams and Holst were socialists and humanitarians, deeply committed to the idea that music should be for everyone, not just the elite. This belief manifested in their involvement in community music-making and education. Vaughan Williams, for example, was heavily involved in the English Folk Dance and Song Society, while Holst taught at St. Paul’s Girls’ School and Morley College. Their music, while complex and often challenging, was always intended to resonate with the broader public.

The Divergence of Styles

As their careers progressed, Vaughan Williams and Holst’s musical styles began to diverge in interesting ways. Vaughan Williams became increasingly interested in spiritual and pastoral themes, as seen in works like Fantasia on a Theme by Thomas Tallis and The Lark Ascending. His music often evokes the English landscape, with a sense of timelessness and serenity.

Holst, on the other hand, moved towards more esoteric and experimental realms. His fascination with astrology, Eastern philosophy, and literature is most famously reflected in The Planets, a suite that combines vivid orchestration with innovative rhythms and harmonies. Holst’s later works, such as Egdon Heath and The Hymn of Jesus, delve into the mystical and abstract, contrasting sharply with the earthy lyricism of Vaughan Williams.

Despite these stylistic differences, their friendship remained strong. They continued to exchange ideas, even when their compositions ventured into radically different territories. In fact, their divergence of styles only seemed to deepen their respect for each other’s work. Vaughan Williams once commented that he could not write something like The Planets but admired it immensely, while Holst expressed a similar awe for Vaughan Williams’ ability to capture the essence of the English countryside.

The Lasting Legacy of Their Friendship

The impact of Vaughan Williams and Holst’s friendship on British music is immeasurable. Together, they helped define a new national identity in classical music, one rooted in British culture but open to modern innovations. Their mutual encouragement and criticism enabled each to grow as a composer, pushing the boundaries of their creative potential.

Their influence extends far beyond their own compositions. As educators, both men nurtured a new generation of British composers, including Michael Tippett and Benjamin Britten, who would go on to carry the torch of British music into the mid-20th century. Their commitment to making music accessible to all has had a lasting impact on British musical institutions, from community choirs to conservatories.

While Vaughan Williams and Holst are often discussed individually, their friendship was integral to their success. It allowed them to take risks, experiment, and ultimately produce music that continues to resonate with audiences today.

Conclusion

The friendship between Ralph Vaughan Williams and Gustav Holst was not just a personal bond but a creative partnership that transformed the landscape of British classical music. Their shared passion for folk traditions, their commitment to creating a national musical identity, and their willingness to engage with modernist ideas resulted in a body of work that remains as fresh and vital today as it was a century ago.