Below is a sortable list of compositions by Gustav Holst. The works are categorized by genre, H. catalogue number (A Thematic Catalogue of Gustav Holst's Music by Imogen Holst, London, Faber Music Ltd., 1974), opus number, date of composition and title.
| Genre | H. | Opus | Date | Title | Scoring | Notes | ||
|---|---|---|---|---|---|---|---|---|
| Opera | 7 | 1 | 1895 | The Revoke | Opera in 1 act; libretto by Fritz Hart | |||
| Opera | 21 | 1896 | The Idea | Children's Operetta | ||||
| Opera | 60 | 11 | 1902 | The Youth's Choice | Musical Idyll in 1 act; libretto by the composer | |||
| Opera | 89 | 23 | 1899–1906 | Sita | Opera in 3 acts based on the story of Rama and Sita from the Ramayana | |||
| Opera | 96 | 25 | 1908 | Sāvitri | Chamber Opera in 1 act; libretto by the composer based on the episode of Savitri and Satyavan from the Mahābhārata | |||
| Opera | 150 | 39 | 1918–22 | The Perfect Fool | Comic Opera in 1 act; libretto by the composer; revised as a ballet 1922 | |||
| Opera | 156 | 42 | 1924 | At the Boar's Head | Opera in 1 act; libretto by the composer based on William Shakespeare's Henry IV, Part 1 and Part 2 | |||
| Opera | 176 | 50 | 1929–30 | The Wandering Scholar | Chamber Opera in 1 act; libretto by Clifford Bax founded on an incident in Helen Waddell's The Wandering Scholars. | |||
| Ballet | 149 | 1921 | The Lure, or The Moth and the Flame | |||||
| Ballet | 150 | 39 | 1918–22 | The Perfect Fool | 1922 revision of the opera; libretto by the composer | |||
| Ballet | 163 | 45/1 | 1926 | The Golden Goose | Choral Ballet; for chorus and orchestra; founded on the tale of the Brothers Grimm, adapted by Jane M. Joseph | |||
| Ballet | 164 | 45/2 | 1926–27 | The Morning of the Year | Choral Ballet; for chorus and orchestra; words by Steuart Wilson | |||
| Incidental music | 1905 | Stratford Revels | ||||||
| Incidental music | 94 | 1905 | Nabou, or Kings in Babylon | |||||
| Incidental music | 101 | 27a | 1909 | The Vision of Dame Christian | Masque; music for the play by Frances Ralph Gray | |||
| Incidental music | 102 | 27b | 1909 | Stepney Children's Pageant | for orchestra | |||
| Incidental music | 102a | 27b | 1909 | A Song of London | for unison chorus and piano | from the incidental music for Stepney Children's Pageant; words by G.K. Menzies | ||
| Incidental music | 114 | 1910 | The Praise of King Olaf | for chorus and military band | Part 1 Scene 4 of The Pageant of London[1] | |||
| Incidental music | 122 | 1914 | Philip the King[2] | Incidental Music to the play by John Masefield | ||||
| Incidental music | 143 | 1918 | The Sneezing Charm | for mezzo-soprano and orchestra | ||||
| Incidental music | 146 | 1920 | 7 Choruses from the Alcestis of Euripides | for unison voices, 3 flutes and harp | for the play by Euripides in translation by Gilbert Murray | |||
| Incidental music | 1921 | St. Martin's Pageant | ||||||
| Incidental music | 170 | 1927 | The Coming of Christ | for soprano, tenor, baritone, bass, mixed chorus, trumpet, piano, organ and string orchestra ad libitum | Incidental music for a Mystery Play | |||
| Incidental music | 180 | 1930 | The Passing of the Essenes: 2 Chants | for unison male chorus | for the play by George Moore | |||
| Incidental music | 1933–1934 | The Song of Solomon | ||||||
| Film score | 184 | 1931 | The Bells | directed by Harcourt Templeman | ||||
| Orchestral | 1891 | Intermezzo | for orchestra | |||||
| Orchestral | 31 | 1897 | A Winter Idyll | for orchestra | ||||
| Orchestral | 41 | 1898 | Suite in G minor | for string orchestra | ||||
| Orchestral | 42 | 7 | 1899 | Walt Whitman | for orchestra | Overture | ||
| Orchestral | 43 | 10 | 1899, 1912 | Suite de ballet in E major | for orchestra | revised 1912; originally Op. 8 | ||
| Orchestral | 47 | 8 | 1899–1900 | Symphony in F major "The Cotswolds" | for orchestra | originally Op. 10 | ||
| Orchestral | 54 | 1903? | Greeting | for orchestra | original version for violin and piano | |||
| Orchestral | 66 | 13 | 1903 | Indra | for orchestra | Symphonic Poem | ||
| Orchestral | 86 | 21/1 | 1906, 1907 | Songs of the West | for orchestra | revised 1907 | ||
| Orchestral | 87 | 21/2 | 1906, 1907 | A Somerset Rhapsody | for orchestra | revised 1907 | ||
| Orchestral | 88 | 22 | 1906 | 2 Songs without Words | for chamber orchestra | No. 2 also for small military band | ||
| Orchestral | 107 | 29/1 | 1909–1910 | Beni Mora Oriental Suite | for orchestra | |||
| Orchestral | 1910 | Morris Dance Tunes Set I Set II | for orchestra | |||||
| Orchestral | 108 | (29/2) | 1911 | Phantastes, Suite in F major | for orchestra | withdrawn, originally Op. 29 No. 2 | ||
| Orchestral | 118 | 29/2 | 1912–1913 | St Paul's Suite | for string orchestra | dedicated to the orchestra at St Paul's Girls' School; Finale is an arrangement of 4th movement in Second Suite.[3] | ||
| Orchestral | 125 | 32 | 1914–1916 | The Planets | for orchestra and female chorus | original version for 2 pianos 4. main theme: "I Vow to Thee, My Country" | ||
| Orchestral | 126 | 33 | 1915 | Japanese Suite [<nowiki/>[[:ja:日本組曲_(ホルスト)|ja]]] | for orchestra | |||
| Orchestral | 151 | 40/1 | 1922 | for orchestra | ||||
| Orchestral | 172 | 47 | 1927 | Egdon Heath (A Homage to Thomas Hardy) | for orchestra | title taken from Thomas Hardy's fictitious area Egdon Heath | ||
| Orchestral | 1928 | Nocturne from "A Moorside Suite" | for string orchestra | |||||
| Orchestral | 1928 | Fugue à la Gigue | for orchestra | original work Fugue in G major, BWV 577 by Johann Sebastian Bach; arrangement by Holst; also for band | ||||
| Orchestral | 178 | 52 | 1930, 1931 | Hammersmith | for orchestra | original for military band; orchestral version (1931) premiered at the same 1931 concert as William Walton's Belshazzar's Feast | ||
| Orchestral | 185 | 1932 | Jazz-Band Piece (Mr. Shilkret's Maggot) | for orchestra | revised by Imogen Holst as "Capriccio" (1967) | |||
| Orchestral | 190 | 1933 | Brook Green Suite | for string orchestra with flute, oboe and clarinet ad libitum | ||||
| Orchestral | 190a | 1933 | Gavotte | for string orchestra with flute, oboe and clarinet ad libitum | originally intended for Brook Green Suite | |||
| Orchestral | 192 | 1933–1934 | Scherzo | for orchestra | part of an unfinished Symphony | |||
| Band | Three Folk Tunes | for small military band | ||||||
| Band | 88 | 22 | 1906 | Marching Song | for small military band | No. 2 from 2 Songs without Words | ||
| Band | 105 | 28/1 | 1909 | for military band | ||||
| Band | 106 | 28/2 | 1911 | for military band | 1. also known as Three Folk Tunes or March on Three Folk Tunes | |||
| Band | 1928 | Fugue à la Gigue | original work Fugue in G major, BWV 577 by Johann Sebastian Bach; arrangement by Holst; also for orchestra | |||||
| Band | 173 | 1928 | for brass band | unfinished transcription for military band by Holst (Scherzo and 38 bars of Nocturne); The whole work transcribed by Gordon Jacob in 1952 and Denis Wright in 1937[4] | ||||
| Band | 178 | 52 | 1930 | for military band | also for orchestra (1931); premiered by the US Marine Band on 17 April 1932 | |||
| Concertante | 74 | 19/1 | 1905 | A Song of the Night | for violin and orchestra | |||
| Concertante | 75 | 19/2 | 1911 | Invocation | for cello and orchestra | |||
| Concertante | 152 | 40/2 | 1923 | for flute, oboe (or 2 violins) and string orchestra | ||||
| Concertante | 175 | 49 | 1929 | for 2 violins and orchestra | ||||
| Concertante | 191 | 1933 | for viola and small orchestra | dedicated to violist Lionel Tertis | ||||
| Chamber music | 1893 | Theme and Variations | for 2 violins, viola and cello | |||||
| Chamber music | 1894 | Air and Variations | for 2 violins, viola, cello and piano | |||||
| Chamber music | 1894 | Duo Concertante (Duet) | for trombone and organ | |||||
| Chamber music | 1894 | String Trio in G minor | for violin, viola and cello | |||||
| Chamber music | 8 | 2 | 1896 | Fantasiestücke | for oboe, 2 violin, viola and cello | revised as 3 Pieces in 1910 | ||
| Chamber music | 8a | 2 | 1896, 1910 | 3 Pieces | for oboe, 2 violin, viola and cello | 1910 revision of Fantasiestücke | ||
| Chamber music | 9 | 1896 | Variations | for oboe, clarinet, bassoon, violin, viola and cello | ||||
| Chamber music | 10 | 1896 | Sextet in E minor | for oboe, clarinet, bassoon, violin, viola and cello | ||||
| Chamber music | 11 | 3 | 1896 | for oboe, clarinet, horn, bassoon and piano | ||||
| Chamber music | 23 | 1897 | Scherzo | for 2 violins, 2 violas and cellos | ||||
| Chamber music | 1901–1902 | 6 Solos: Nos. 1-5 | for violin | |||||
| Chamber music | 51 | 1902? | Lied ohne Worte | for violin and piano | ||||
| Chamber music | 52 | 1903? | A Spring Song | for violin (or cello) and piano | ||||
| Chamber music | 53 | 1903 | Ländler | for 2 violins and piano | ||||
| Chamber music | 54 | 1903? | Greeting | for violin and piano | also for orchestra | |||
| Chamber music | 55 | 1904? | Maya | for violin and piano | ||||
| Chamber music | 56 | 1904? | Valse-Étude | for violin and piano | dedicated to Marie Hall | |||
| Chamber music | 67 | 14 | 1903 | for flute, oboe, clarinet, horn and bassoon | ||||
| Chamber music | 93 | 1906 | 7 Scottish Airs | for 2 violins, viola, cello and piano | ||||
| Chamber music | 135 | 36 | 1916 | Phantasy Quartet on British Folk Songs | for 2 violins, viola and cello | |||
| Chamber music | 158 | 1925 | for flute, oboe and viola | |||||
| Organ | 1891 | 4 Voluntaries | for organ | |||||
| Piano | 1892 | Arpeggio Study | for piano | |||||
| Piano | 1893 | Introduction and Bolero | for piano 4-hands | |||||
| Piano | 5 | 1895 | Dances | for piano 4-hands | ||||
| Piano | 6 | 1899 | Duet in D major | for piano 4-hands | ||||
| Piano | 50 | 1901 | 2 Pieces (Deux Pièces) | for piano | ||||
| Piano | 125 | 32 | 1914–1916 | The Planets | for 2 pianos | also orchestrated 4. main theme: "I Vow to Thee, My Country" | ||
| Piano | 153 | 1924 | Toccata | for piano | founded on the Northumbrian pipe-tune "Newburn Lads" | |||
| Piano | 154 | 1924 | A Piece for Yvonne | for piano | ||||
| Piano | 165 | 46/1 | 1926 | Chrissemas Day in the Morning | for piano | founded on a tune from North Countrie Ballads | ||
| Piano | 166 | 46/2 | 1927 | 2 Folk Song Fragments (2 Northumbrian Folk Tunes) | for piano | founded on a tune from North Countrie Ballads | ||
| Piano | 179 | 1930–1932 1930 1932 | 2 Pieces | for piano | ||||
| Vocal | 1891 | The Harper | for voice and piano | |||||
| Vocal | 1891 | Die Sprode | for voice and piano | |||||
| Vocal | 1891–1892 | There Is Dew for the Flow'ret | for voice and piano | |||||
| Vocal | 1892 | I Come from Haunts of Coot and Hern | for voice and piano | |||||
| Vocal | 1892 | Sing Heigh-Ho! | for voice and piano | 1st setting | ||||
| Vocal | 1893 | Anna-Marie | for voice and piano | |||||
| Vocal | 1893 | A Lake and a Fairy Boat | for voice and piano | 1st setting | ||||
| Vocal | 1893 | There Sits a Bird on Yonder Tree | for voice and piano | |||||
| Vocal | 1893 | The White Lady's Farewell | for voice and piano | |||||
| Vocal | 1890s | The Exile of Erine | for voice and piano | |||||
| Vocal | 4 | 1895, 1897 | O Lady, Leave That Silken Thread | for baritone and piano | original version (1895) for mixed chorus a cappella; words by Thomas Hood | |||
| Vocal | 14 | 4 | 1896–1898 | 4 Songs | for voice and piano | 1. words by Charles Kingsley 2. words by Henrik Ibsen in translation by William Archer 3. words from Heinrich Heine 4. words by Robert Bridges | ||
| Vocal | 17 | 1897 | Song to the Sleeping Lady | for voice and piano | words by George MacDonald | |||
| Vocal | 19 | 1901–1902 | The Ballade of Prince Eric | for voice and piano | words by Fritz Hart | |||
| Vocal | 25 | 1897 | A Lake and a Fairy Boat | for voice and piano | 2nd setting; words by Thomas Hood | |||
| Vocal | 26 | 1897 | Sing Heigh-Ho! | for voice and piano | 2nd setting; words by Charles Kingsley | |||
| Vocal | 27 | 1897 | Airly Beacon | for voice and piano | words by Charles Kingsley | |||
| Vocal | 28 | 1890s | Twin Stars Aloft | for voice and piano | words by Charles Kingsley | |||
| Vocal | 29 | 1890s | The Day of the Lord | for voice and piano | words by Charles Kingsley | |||
| Vocal | 32 | 1897 | Not a Sound But Echoing in Me | for voice and piano | words by George MacDonald | |||
| Vocal | 33 | 1898 | Whether We Die or Live | for voice and piano | words by George Meredith | |||
| Vocal | 34 | 6 | 1898, 1900 | Örnulf's Drapa | for baritone and orchestra | revised 1900; words by Henrik Ibsen in translation by William Archer | ||
| Vocal | 35 | 1890s | Autumn Song | for voice and piano | words by Robert Bridges | |||
| Vocal | 36 | 1898 | My Joy | for voice and piano | words by Robert Bridges | |||
| Vocal | 37 | 1890s | Draw Not Away Thy Hands | for voice and piano | words by William Morris | |||
| Vocal | 38 | 1890s | I Scanned Her Picture | for voice and piano | ||||
| Vocal | 39 | 1890s | Two Brown Eyes | for voice and piano | ||||
| Vocal | 44 | 1898–1899 | Bhanavar's Lament | for voice and piano | words by George Meredith | |||
| Vocal | 45 | 1890s | Ah, Come, Fair Mistress | for voice and piano | words by Walter E. Grogan | |||
| Vocal | 1900 | She Who Is Dear to Me | for voice and piano | words by Walter E. Grogan | ||||
| Vocal | 62 | 1903 | A Prayer for Light | for voice and piano | words by Eric Mackay | |||
| Vocal | 63 | 1904 | Dewy Roses | for voice and piano | words by Alfred H. Hyatt | |||
| Vocal | 64 | 1903 | Song of the Woods | for voice and piano | words by Alfred H. Hyatt | |||
| Vocal | 65 | 1902–1903 | To a Wild Rose | for voice and piano | words by Alfred H. Hyatt | |||
| Vocal | 68 | 15 | 1902–1903 | 6 Songs | for baritone and piano | 1. words translated from Rig Veda by the composer 2. words by anonymous 3.~5. words by Thomas Hardy 6. Words by Robert Bridges | ||
| Vocal | 69 | 16 | 1903–1904 | 6 Songs | for soprano and piano | 1. words by Alfred, Lord Tennyson 2. words by Philip Sidney 3. words by anonymous 4. words by Nicholas Breton 5. words by William Blake 6. words by Alfred H. Hyatt | ||
| Vocal | 71 | 18 | 1904, 1912 | The Mystic Trumpeter, Scena | for soprano and orchestra | revised 1912; setting of the poem "From Noon to Starry Night" by Walt Whitman; Colin Matthews notes that while Holst had not yet developed a musical style of his own, this early work shows "conviction and individuality", and has "few parallels in British music of this period".[5] | ||
| Vocal | 72 | 1904–1905 | Darest Thou Now, O Soul | for voice and piano | words by Walt Whitman | |||
| Vocal | 77 | 1890s | Now Sleep and Take They Rest | for voice and piano | words by James Mabbe after Fernando de Rojas | |||
| Vocal | 79 | 1900s | To Hope | for voice and piano | words by anonymous | |||
| Vocal | 83 | 1906–1908 | 16 Folk Songs from Hampshire | for voice and piano | folk song arrangements by Holst | |||
| Vocal | 84a | 1906–1907 | Stu Mo Run | for voice and piano | Scottish folk song; arrangement by Holst | |||
| Vocal | 84 | 1906–1914 | 9 Folk Songs | for voice and piano | folk song arrangements by Holst | |||
| Vocal | 95 | 1907 | The Heart Worships | for voice and piano | words by Alice M. Buckton | |||
| Vocal | 90 | 24 | 1907–1908 | Hymns from the Rig Veda (Vedic Hymns) First Group | for medium voice and piano | English words translated from the Sanskrit by the composer | ||
| Vocal | 90a | (24) | 1907 | Ratri (The Night) | for medium voice and piano | originally included in Op. 24 | ||
| Vocal | 123 | 1914? | A Vigil of Pentecost | for voice and piano | words by Alice M. Buckton | |||
| Vocal | 1911 | Glory of the West | for voice and piano | arrangement by Holst | ||||
| Vocal | 132 | 35 | 1916–1917 | 4 Songs | for soprano (or tenor) and violin | |||
| Vocal | 141 | 1918 | May Day Carol | for voice and 2 violins | ||||
| Vocal | 147 | 1920s | The Ballad of Hunting Knowe | for voice and piano | words by E. A. Ramsden | |||
| Vocal | 1920s | He-Back She-Back | for voice and piano | |||||
| Vocal | 174 | 48 | 1929 | 12 Songs | for soprano and piano | words by Humbert Wolfe | ||
| Vocal | 174a | (48) | 1929 | Epilogue | for soprano and piano | words by Humbert Wolfe; originally intended for Op. 48 | ||
| Vocal | 1930 | God Be in My Head | for voice and piano | |||||
| Choral | 1887 | Horatius | for mixed chorus and orchestra | |||||
| Choral | 1890 | A Christmas Carol | for mixed chorus and piano | |||||
| Choral | 1891–1892 | Sailor's Chorus | for male chorus and orchestra | |||||
| Choral | 1891–1892 | The Strain Upraise | for unison voices and piano | |||||
| Choral | 1891–1892 | Advent Litany | for unison voices and piano | |||||
| Choral | 1892 | Sanctus | for unison voices and organ | |||||
| Choral | 1892 | New Year Chorus | for mixed chorus and piano | |||||
| Choral | 1892 | Ode to the North East Wind | for male chorus and orchestra | |||||
| Choral | 1893–1894 | Winter and the Birds | for mixed chorus and piano | |||||
| Choral | 1894 | Love Wakes and Weeps | for mixed chorus a cappella | |||||
| Choral | 1894 | Ave Maria, Maiden Mild | for female chorus a cappella | |||||
| Choral | 1894 | Fathoms Deep Beneath the Wave | for female chorus a cappella | |||||
| Choral | 1894 | Now Winter's Winds Are Banished | for female chorus a cappella | |||||
| Choral | 1894 | Summer's Welcome | for female chorus a cappella | |||||
| Choral | 1894 | Winter and the Birds | for female chorus a cappella | |||||
| Choral | 1 | 1895 | The Autumn Is Old | for mixed chorus a cappella | words by Thomas Hood | |||
| Choral | 2 | 1895 | The Stars Are with the Voyager | for mixed chorus a cappella | words by Thomas Hood | |||
| Choral | 3 | 1895 | Spring It Is Cheery | for mixed chorus a cappella | words by Thomas Hood | |||
| Choral | 4 | 1895 | O Lady, Leave That Silken Thread | for mixed chorus a cappella | words by Thomas Hood; also for baritone and piano | |||
| Choral | 12 | 1890s | All Night I Waited by the Spring | for female chorus a cappella | ||||
| Choral | 13 | 4 | 1896 | 3 Short Part-Songs | for female chorus a cappella | words translated from Heinrich Heine | ||
| Choral | 15 | 1896 | There's a Voice in the Wind | for mixed chorus a cappella | ||||
| Choral | 16 | 1896 | The Kiss | for mixed chorus a cappella | words by Ben Jonson | |||
| Choral | 18 | 1890s | Ah Tyrant Love | for mixed chorus a cappella | words by Charles Kingsley | |||
| Choral | 20 | 1896 | Light Leaves Whisper | for mixed chorus a cappella | words by Fritz Hart | |||
| Choral | 22 | 1893–1896 | Not Unto Us, O Lord | for mixed chorus and organ (or piano) | Biblical words: Psalm 115 | |||
| Choral | 24 | 1897 | O Spring's Little Children | for female chorus a cappella | words by Francis Thompson | |||
| Choral | 30 | 5 | 1897 | Clear and Cool | for mixed chorus and orchestra | words by Charles Kingsley | ||
| Choral | 40 | 1898 | Clouds o'er the Summer Sky, Canon | for female chorus (2 sopranos) and piano | words by Fritz Hart | |||
| Choral | 1899 | Autumn Song | for female chorus a cappella | words by Francis Thompson; also for mixed chorus a cappella, Op. 9a No. 2 | ||||
| Choral | 48 | 9a | 1897–1900 | 5 Part-Songs | for mixed chorus a cappella | 1. words by William Morris 2. words by Francis Thompson; also for female chorus a cappella (1899) 3. words by William Morris 4. words by William Shakespeare 5. words by William Morris | ||
| Choral | 49 | 9b | 1900 | Ave Maria | for female chorus a cappella | |||
| Choral | 57 | 1912 | I love Thee | for mixed chorus a cappella | words by Thomas Hood | |||
| Choral | 58 | 1903 | Thou Didst Delight My Eyes | for mixed chorus a cappella | words by Robert Bridges | |||
| Choral | 59 | 1890s | It Was a Lover and His Lass | for mixed chorus a cappella | words by William Shakespeare | |||
| Choral | 61 | 12 | 1902–1903 | 5 Part-Songs | for mixed chorus a cappella | 1. words by Francis Thompson 2. words by Thomas Heywood 3. words by Robert Herrick 4. words by anonymous, 16th century 5. words by Christina Rossetti | ||
| Choral | 70 | 17 | 1903 | King Estmere | for mixed chorus and orchestra | |||
| Choral | 73 | 1904–1905 | 3 Hymns for the English Hymnal | for mixed chorus and organ | 1. words by Christina Rossetti 2. words by C. W. Humphreys after Divine Liturgy of St. John Chrysostom 3. words by Frederick William Faber | |||
| Choral | 76 | 1908 | In Youth Is Pleasure | for mixed chorus a cappella | words by Robert Wever | |||
| Choral | 78 | 1908 | Now Rest Thee from All Care | for mixed chorus a cappella | words by anonymous | |||
| Choral | 80 | 20a | 1905 | Songs from "The Princess" | for female chorus a cappella | words by Alfred, Lord Tennyson | ||
| Choral | 81 | 1905 | Home They Brought Her Warrior Dead | for female chorus a cappella | words from The Princess by Alfred, Lord Tennyson | |||
| Choral | 82 | 20b | 1907 | 4 Old English Carols | for mixed chorus and piano | words by anonymous | ||
| Choral | 85 | 1904–1919 | 7 Folk Songs | for unison voices and orchestra (or piano) | ||||
| Choral | 1908 | Adoramus Te Christe [orig. Orlando di Lasso, arr. Holst] | for female chorus a cappella | |||||
| Choral | 1908 | Benedictus [orig. William Byrd, arr. Holst] | for female chorus a cappella | |||||
| Choral | 1908 | Help Me, O Lord [orig. Thomas Augustine, arr. Holst] | for female chorus a cappella | |||||
| Choral | 1908 | How Merrily We Live [orig. Michael Este, arr. Holst] | for female chorus a cappella | |||||
| Choral | 1908 | 2 Part-Songs | for mixed chorus a cappella | |||||
| Choral | 91 | 1907–1908 1916 | 2 Carols | for mixed chorus, oboe and cello | words by anonymous Old English Carols | |||
| Choral | 92 | 1909 | Pastoral | for female chorus a cappella | ||||
| Choral | 97 | 26 | 1908 | Choral Hymns from the Rig Veda, First Group | for mixed chorus and orchestra (or piano) | English words translated from the Sanskrit by the composer | ||
| Choral | 98 | 26 | 1909 | Choral Hymns from the Rig Veda, Second Group | for female chorus and orchestra (or piano) | English words translated from the Sanskrit by the composer | ||
| Choral | 99 | 26 | 1910 | Choral Hymns from the Rig Veda, Third Group | for female chorus and harp (or piano) | English words translated from the Sanskrit by the composer | ||
| Choral | 100 | 26 | 1912 | Choral Hymns from the Rig Veda, Fourth Group | for male chorus and string orchestra with brass ad libitum (or piano) | English words translated from the Sanskrit by the composer | ||
| Choral | 103 | 1909 | O England, My Country | for unison voices and orchestra (or piano) | words by G. K. Menzies | |||
| Choral | 104 | 1909 | A Song of Fairies | for female chorus a cappella | ||||
| Choral | 109 | 1910 | Christmas Day: Choral Fantasy on Old Carols | for mixed chorus and orchestra (or organ) | ||||
| Choral | 1910 | Old Airs and Glees [arr. Holst] | for female chorus a cappella | |||||
| Choral | 110 | 1910 | 4 Part-Songs | for children's chorus and piano | words by John Greenleaf Whittier | |||
| Choral | 111 | 30 | 1910–1912 | The Cloud Messenger, Ode | for alto, mixed chorus and orchestra | founded on a Sanskrit poem of Kālidāsa; words translated by the composer | ||
| Choral | 112 | 1911 | 2 Eastern Pictures | for female chorus and harp (or piano) | words translated by the composer from Kālidāsa | |||
| Choral | 113 | 1911 | In Loyal Bonds United: Empire Day Song | for unison voices and piano | words by Shapcott Wensley | |||
| Choral | 1912 | News From Whydah [orig. Henry Balfour Gardiner, orch. Holst] | for mixed chorus and orchestra | |||||
| Choral | 1912 | Lord, Who Hast Made Us For Thine Own: No. 2 of the Two Psalms | for female chorus and orchestra | |||||
| Choral | 115 | 31/1 | 1911 | Hecuba's Lament | for alto, female chorus and string orchestra | words by Gilbert Murray after Euripides | ||
| Choral | 116 | 31/2 | 1913 | Hymn to Dionysus | for female chorus and orchestra | words by Gilbert Murray after Euripides | ||
| Choral | 117 | 1912 | 2 Psalms | for mixed chorus, organ (or brass) and string orchestra | 1. with tenor solo also for female chorus and orchestra (or organ, or piano) | |||
| Choral | 118a | 1911 | Playground Song | for unison voices and piano | for St Paul's Girls' School | |||
| Choral | 119 | 1913 | The Swallow Leaves Her Nest | for female chorus a cappella | words by Thomas Lovell Beddoes | |||
| Choral | 120 | 1913 | The Homecoming | for male chorus a cappella | words by Thomas Hardy | |||
| Choral | 121 | 1914 | A Dirge for Two Veterans | for male chorus, brass and percussion | words by Walt Whitman | |||
| Choral | 124 | 1915 | Dirge and Hymeneal | for female chorus and piano (or harp) | words by Thomas Lovell Beddoes | |||
| Choral | 127 | 1915 | Nunc Dimittis | for mixed chorus a cappella | ||||
| Choral | 128 | 34/1 | 1916 | for mixed chorus a cappella | ||||
| Choral | 129 | 34/2 | 1916 | Lullay My Liking | for soprano and mixed chorus a cappella | |||
| Choral | 130 | 34/3 | 1916 | Of One That Is So Fair and Bright | for soprano, alto, tenor, bass and mixed chorus a cappella | |||
| Choral | 131 | 34/4 | 1916 | Bring Us in Good Ale | for mixed chorus a cappella | |||
| Choral | 1916 | Personent hodie, Christmas Song | for unison chorus and orchestra | arrangement by Holst; Latin text and melody from Piæ Cantiones | ||||
| Choral | 1916 | Short Communion Service | for equal voices a cappella | original work by William Byrd; arrangement by Holst | ||||
| Choral | 133 | 1916–1917 | 3 Carols | for unison voices and orchestra | 2. words by Jane M. Joseph after Piæ Cantiones 3. words by William Morris | |||
| Choral | 134 | 36a | 1916 | 3 Festival Choruses | for mixed chorus and orchestra | 1. words by Gerard Moultrie after Biblical or other sacred texts 2.~3. words by Clifford Bax | ||
| Choral | 136 | 36b | 1916 | 6 Choral Folk Songs | for mixed chorus a cappella | 1., 3.~6. also for male chorus a cappella | ||
| Choral | 137 | 1916 | Diverus and Lazarus | for mixed chorus a cappella | ||||
| Choral | 138 | 1917 | 2 Part-Songs for Children | for children's chorus and piano | words by John Greenleaf Whittier | |||
| Choral | 139 | 1917 | A Dream of Christmas | for female chorus and string orchestra (or piano) | ||||
| Choral | 142 | 1916–1917 | Here Is Joy for Every Age | for female chorus a cappella | words by John Mason Neale after "Ecce novum gaudium" | |||
| Choral | 1916–1919 | All People That on Earth Do Dwell [arr. Holst] | for mixed chorus and orchestra | |||||
| Choral | 140 | 37 | 1917-1919 | for 2 mixed choruses, female semi-chorus and orchestra | text chosen and translated from the Apocryphal Acts of St. John, next to the hymn Pange lingua gloriosi proelium certaminis | |||
| Choral | 144 | 38 | 1919 | Ode to Death | for mixed chorus and orchestra | words by Walt Whitman | ||
| Choral | 145 | 1919 | Short Festival Te Deum | for mixed chorus and orchestra | ||||
| Choral | 148 | 1921, 1918? | "I Vow to Thee, My Country", Hymn | for unison voices and orchestra | based on the theme from the middle section of the Jupiter movement of The Planets; words by Cecil Spring Rice | |||
| Choral | 155 | 41 | 1923–1924 | for soprano, mixed chorus and orchestra | words by John Keats | |||
| Choral | 157 | 1925 | Ode to C.K.S. and the Oriana | for mixed chorus a cappella | for Charles Kennedy Scott and the Oriana Madrigal Society on the 21st foundation day; words by Jane M. Joseph | |||
| Choral | 159 160 | 43 | 1924 1925 | 2 Motets | for mixed chorus a cappella | 1. words by Henry Vaughan 2. words by Digby Mackworth Dolben | ||
| Choral | 1925 | God Is Love, His the Care | Hymn | |||||
| Choral | 161 | 1925 | 4 Hymns for Songs of Praise | for the hymnal Songs of Praise 1. words by J. S. Arkwright 2. words by Robert Herrick 3. words by Sabine Baring-Gould 4. words by Percy Dearmer after Thomas Heywood | ||||
| Choral | 162 | 44 | 1925–1926 | 7 Part-Songs | for soprano, female chorus and string orchestra | words by Robert Bridges | ||
| Choral | 1927 | O Magnum Mysterium [edt. Holst] | for mixed chorus a cappella | |||||
| Choral | 1927 | By Weary Stages | Hymn | |||||
| Choral | 1927 | Gird on Thy Sword/Lift Up Your Arms | Hymn | |||||
| Choral | 167 | 1928 | Christ Hath a Garden | for female chorus and small orchestra | words by Robert Bridges after Isaac Watts | |||
| Choral | 168 | 1927 | Man Born to Toil | for mixed chorus, organ and bells ad libitum | words by Robert Bridges | |||
| Choral | 169 | 1927 | Eternal Father | for soprano, mixed chorus, organ and bells ad libitum | words by Robert Bridges | |||
| Choral | 171 | 1928 | Canterbury Bells: 2 Rounds | for 4 equal voices a cappella | words by Mabel Rodwell Jones | |||
| Choral | 177 | 51 | 1930 | for soprano, mixed chorus and orchestra | words by Robert Bridges | |||
| Choral | 181 | 1931 | Roadways | for unison voices and piano | words by John Masefield | |||
| Choral | 182 | 1931 | Wassail Song | for mixed chorus a cappella | ||||
| Choral | 183 | 1930–1931 | 12 Welsh Folk Songs | for mixed chorus a cappella | words adapted by Steuart Wilson | |||
| Choral | 186 | 53 | 1931–1932 | 6 Choruses | for male chorus and string orchestra (or piano) | words from medieval Latin lyrics translated by Helen Waddell | ||
| Choral | 186a | (53) | 1931 | On the Battle Which Was Fought at Fontenoy | for male chorus and string orchestra (or piano, or organ) | originally intended for Op. 53; words from medieval Latin lyrics translated by Helen Waddell | ||
| Choral | 187 | 1932 | 8 Canons | Nos. 1~6 for equal voices a cappella Nos. 7~8 for equal voices and piano | poems from mediaeval Latin lyrics in translation by Helen Waddell | |||
| Choral | 188 | 1932 | "O Spiritual Pilgrim" | for soprano and mixed chorus a cappella | words by James Elroy Flecker | |||
| Choral | 189 | 1933 | Come Live with Me | for 2 equal voices a cappella | words by Christopher Marlowe | |||
| align=center | - | 1906 | Folk Songs from Somerset | thought lost; rediscovered 2017[6] |