The Importance of Cheltenham: Imperialism, Liminality and Gustav Holst

Abstract

The study of liminality, pioneered by the anthropologist Arnold van Gennep, and reinvigorated by Victor Turner, considers the ambiguity that exists for individuals as they move between defined groups or identities. Reconsidering the relationship between the British composer, Gustav Holst (1874–1934), and his birthplace, the west country spa town of Cheltenham, provides not only a case study of the general liminality of the professional musician, but of a figure who is betwixt and between in almost all aspects of his life. In essence, Holst is the archetype of a liminal being. This study problematizes Holst's place in the received history of British music, arguing that his liminality has been overlooked in various attempts to make his life and music fit a mainstream narrative for English musical culture, the so-called Second English Musical Renaissance. The origins of that liminality are explored by considering Holst's relationship with Victorian Cheltenham, ranging widely from the civic to the religious, from the public to the private, and from the individual to the social. This includes his contact with prominent influences such as imperialism and evangelicalism, but also elements that are seemingly more marginal to the town but central for Holst, such as Theosophy. Doing so clarifies the origins and importance of Holst's relentlessly liminal status in Victorian and Edwardian society, demonstrating how such reconsiderations can reshape the historical narrative of Victorian influence on the twentieth century.