Born in London, Holmes was the younger brother of violinist and composer Alfred Holmes. Both men studied the violin initially with their father and then at the Spohr's Violin School. The brothers made their professional debut together when Henry was just eight years old, performing in concert as duettists at the Haymarket Theatre on 13 July 1847. They then toured throughout Europe to much acclaim and violinist/composer Louis Spohr dedicated his three violin duos to them. The brothers parted ways in 1864, with Alfred settling in Paris and Henry remaining in London.
In London, Holmes was active as a recitalist, chamber musician, and concert soloist. He taught the violin privately and at the Royal College of Music spent much of his time composing.
In 1890 and again in 1893 a scandal relating to some female students emerged. It seems our Henry was quite a "Jack the lad" and demanded sexual favours from students on several occasions. He tarnished the college's reputation and was dismissed, pulling down with him Sir George Grove, under whose directorship this had happened; Grove was succeeded by Parry.
Holmes eventually left London for San Francisco, California, where he taught the violin and continued to compose. He died there in 1905 at the age of 66. Some of his manuscripts were destroyed in the 1906 earthquake and many badly scorched. Of the symphonies only the last two have survived. The scorched original manuscripts were recopied by the RCM. Both were composed in England before his move to the USA.
Symphony No 4, Fraternity op. 48, dates from 1877 and is dedicated to his beloved brother Alfred who died the year before the work was completed.
Symphony No 5 Cumberland - 1887
This is dedicated to George Henschel a German-born British baritone, conductor and composer who was a teacher of singing at the RCM.
The 2nd movement is a scherzo and trio with the feel of an intermezzo despite its formal layout with two distinct trio sections. This movement demonstrates a rich but delicate orchestral pallete with intricate rhythmic invention.
The main theme is heard at the outset on the 1st violins. It recurs with variations.
The brass, which remain quiet for much of the movement, have their own short fanfare like section.
