Aldeburgh, and continued her work with the annual Aldeburgh Festival. Artistic director In 1956 Holst's role in the Aldeburgh Festival was formalised when she joined Britten and Pears as one of the festival's artistic directors, taking responsibility for programmes and performers. For the 1956 festival she scheduled a performance of Gustav Holst's opera Savitri, the first of several Gustav Holst works that she introduced to the festival in the ensuing years. Savitri was offered as part of a double bill that included Imogen's arrangement of John Blow's 17th century opera Venus and Adonis. In 1957 she instituted late-night concerts, and in 1962 she organised a series devoted to Flemish music, in which she had recently become interested. She also devised frequent programmes of church music, for performance at Aldeburgh parish church. Since moving to Aldeburgh in 1952, Holst had lived in a series of lodgings and rented flats. In 1962 she moved to a small contemporary bungalow built for her in Church Walk, where she lived for the rest of her life. The house was built on the edge of the site where it had been hoped to build a Festival Theatre. When that plan was abandoned in favour of a move to Snape Maltings, the bungalow was built anyway by the architect H. T. Cadbury-Brown, who allowed Holst to live there rent-free. In 1964 Holst began composing again, and in 1965 accepted commissions for two large-scale works: The Sun's Journey, a cantata for female voices, and the Trianon Suite, composed for the Trianon Youth Orchestra of Ipswich. In 1965 and 1966 she published two books, studies of Bach and Britten. The latter work caused some shock and surprise by failing to mention the contributions to Britten's successes of several key figures in Britten's earlier career who had subsequently fallen out of favour, such as his former librettists Eric Crozier and Ronald Duncan. Between 1966 and 1970 Holst recorded a number of her father's works with the Purcell Singers and the English Chamber Orchestra, under the Argo and Lyrita labels. Among these recordings was the Double Violin Concerto, which she conducted with Emanuel Hurwitz as soloist. Forty years earlier she had acted as the rehearsal pianist before the work's first performance. Holst had formed the Purcell Singers, a small semi-professional choir, in October 1952, largely at the instigation of Pears. From 1954 the choir became regular performers at the Aldeburgh