at which point the increasing costs, and Imogen's failing health led to the abandonment of the project. As part of the 1974 centenary, she negotiated performances of Savitri and The Wandering Scholar at Aldeburgh and Sadler's Wells, and helped to arrange exhibitions of Gustav Holst's life and works at Aldeburgh and the Royal Festival Hall. Apart from her books concerned with her father's life and works, Holst continued to write on other aspects of music. In addition to numerous articles she published a short study of the Renaissance composer William Byrd (1972) and a handbook for conductors of amateur choirs (1973). She continued to compose, usually short pieces but with occasional larger-scale orchestral works such as the Woodbridge Suite (1970) and the Deben Calendar (1977), the latter a series of twelve sketches depicting the River Deben in Suffolk at different phases of the year. Her last major composition was a String Quintet, written in 1982 and performed in October of that year by the Endellion Quartet, augmented by the cellist Steven Isserlis. In April 1979 Holst was present when the Queen Mother opened the new Britten–Pears School building in Snape. The building included a new library—the Gustav Holst Library—to which Holst had donated a large amount of material, including books which her father had used in his own teaching career. She had intended that, after 1977, her retirement from the Aldeburgh Festival would be total, but she made an exception in 1980 when she organised a 70th birthday celebration concert for Pears. Death Shortly after the 1977 Aldeburgh Festival, Holst became seriously ill with what she described as "a coronary angina". Thereafter, angina was a recurrent problem, although she continued to work and fulfil engagements. However, by early 1984 the deterioration in her health was noticeable to her friends. She died at home of heart failure on 9 March 1984 and was buried in Aldeburgh churchyard five days later in a plot a few yards away from Britten's. An obituary tribute in the magazine Early Music emphasised her long association with music in the Aldeburgh church, where she "[brought] iridescently to life facets of that tradition to which her own life had been dedicated and which she presented as a continuing source of strength and wonder". Ursula Vaughan Williams wrote: "Imogen had something of the medieval scholar about her ... content with few creature comforts if there was enough music,