 Holst's libretto attracted much criticism, although Edwin Evans remarked on the rare treat in opera of being able to hear the words being sung.Before his enforced rest in 1924, Holst demonstrated a new interest in counterpoint, in his "Fugal Overture" of 1922 for full orchestra and the neo-classical" Fugal Concerto" of 1923, for flute, oboe and strings.In his final decade he mixed song settings and minor pieces with major works and occasional new departures; the 1925 "Terzetto" for flute, violin and oboe, each instrument playing in a different key, is cited by Imogen as Holst's only successful chamber work.