Editing Gustav Holst (section)

===Early works===
Although Holst wrote a large number of works—particularly songs—during his student days and early adulthood, almost everything he wrote before 1904 he later classified as derivative "early horrors".<ref name=grove/><ref name=H661>Holst (1980), p. 661</ref> Nevertheless, the composer and critic Colin Matthews recognises even in these apprentice works an "instinctive orchestral flair".<ref name=grove/> Of the few pieces from this period which demonstrate some originality, Matthews pinpoints the G minor String Trio of 1894 (unperformed until 1974) as the first underivative work produced by Holst.<ref name=Matthews84>{{cite journal|author-link= Colin Matthews|last= Matthews|first= Colin|title= Some Unknown Holst| jstor= 961565|work=[[The Musical Times]]|volume= 125|issue= 1695|pages= 269–272|date= May 1984|doi=10.2307/961565}}</ref> Matthews and Imogen Holst each highlight the "Elegy" movement in ''The Cotswold Symphony'' (1899–1900) as among the more accomplished of the apprentice works, and Imogen discerns glimpses of her father's real self in the 1899 ''Suite de ballet'' and the ''Ave Maria'' of 1900. She and Matthews have asserted that Holst found his genuine voice in his setting of Whitman's verses, ''The Mystic Trumpeter'' (1904), in which the trumpet calls that characterise Mars in ''The Planets'' are briefly anticipated.<ref name=grove/><ref name=H661/> In this work, Holst first employs the technique of bitonality—the use of two keys simultaneously.<ref name=dnb/>