the English musical establishment", by her close personal relationship with her father, and her love of folksong. Some of her first compositions reflect the pastoralism of Ralph Vaughan Williams, who taught her at the RCM. In her teaching and EFDSS years during the 1930s she became known for her folksong arrangements but composed little music herself. The personal style that emerged in the 1940s incorporated her affinity with folksong and dance, her intense interest in English music of the 16th and 17th centuries, and her taste for innovation. In her 1930 suite for solo viola, she had begun experimenting with scale patterns; by the 1940s she was incorporating her own six- and eight-note scales into her chamber music and occasionally into choral works such as the Five Songs (1944). This experimentation reappears in later works; in Hallo My Fancy (1972) a new scale is introduced for each verse, while the choir provides free harmonisation to a solo voice. In Homage to William Morris (1984), among her final works, Tinker notes her use of dissonance "to add strength to the musical articulation of the text". By contrast, the String Quintet of 1982, the work which Holst herself thought made her "a real composer", is characterised by the warmth of its harmonies. Much of Holst's choral music was written for amateur performance. Critics have observed a clear distinction in quality between these pieces and the choral works written for professional choirs, particularly those for women's voices. These latter pieces, says Tinker, incorporate her best work as an original composer. Record companies were slow in recognising her commercial potential, and not until 2009 was a CD issued devoted entirely to her music—a selection of her works for strings. The Guardians reviewer welcomed the recording: "[T]here is a great deal of English music of far less worth that is frequently praised to the skies". In 2012 a selection of her choral music, sung by the Clare College Choir, was recorded by Harmonia Mundi. One review of this recording picks out Welcome Joy and Welcome Sorrow, written for female voices with harp accompaniment, as "[giving] an insight into her own, softly nuanced, pioneering voice". Another mentions the "Three Psalms" setting, where "inner rhythms are underscored by the subtle string ostinatos pulsing beneath". Published texts Publication details refer to the book's first UK publication. (revised edition 1969) (revised editions 1968 and 1985, the latter with Holst's