THE PLANETS Gustav
Holst (1874-1934)
Some composers
become principally known for just one particular work. One such is Gustav Holst
whose suite The Planets has become probably the most popular work by an
English composer in the classical repertoire.
The Planets developed through Holst’s
deep interest in astrology. The first
movement was composed in 1914, shortly before the First World War (in which Holst did not participate due to his health) with the whole
suite being composed by 1917. Its first complete
public performance was in 1919 at which it was immediately heralded as a
masterpiece.
The suite is
written for large orchestra which includes such exotica as a bass flute, bass
oboe and tenor tuba (otherwise known as the euphonium used by brass and
military bands). In style the music
shows some influence of Debussy, Stravinsky and even Schoenberg. The character of the seven movements is based
on astrology, rather than any ancient mythology. However the titles are mainly used as a
framework to evoke the differing moods vividly portrayed by the music.
MARS, the Bringer
of War - The obsessive five beats in a bar rhythm
promotes an ominous and frightening crescendo heralding the approach of war. Brass calls summon death, as elemental forces
are unleashed. There are great cries of
anguish as it reaches its climax ending in a most brutal outburst conveying the
monstrous stupidity of war.
VENUS, the Bringer
of Peace - The calmness of Venus provides an
absolute contrast to the ferocity of Mars.
The opening horn invocation is very suitably reminiscent of Wagner’s Siegfried
Idyll. The violin solo introduces
one of Holst’s most lilting melodies. Then in the ‘cello solo, Elgar’s
Enigma Variations is quoted, reminding us that peace also brings
friendship.
MERCURY, the
Winged Messenger - This short movement is a rapid
and restless scherzo with muted strings and delicate orchestral colours. It illustrates that with peace, the mind can
develop and wing its way unimpeded to better things.
JUPITER, the Bringer
of Jollity - Vitality is evident from
the start in Jupiter which leads to Holst’s beautiful
and almost folk-like tune which became the hymn ‘I vow to thee, my country’. After a rather solemn passage, fun sweeps all
aside in an exciting presto.
SATURN, the Bringer
of Old Age - Known to have been Holst’s own favourite movement, Saturn is sometimes serene
and at times desolate, with growth throughout.
It shows that age brings fear of mortality, but also wisdom.
URANUS, the Magician - Uranus
brings out the magic of life. After
powerful four note motifs from the trombones, trumpets and then tubas, the
bassoons take the bumbling magician reminiscent of Dukas’
Sorcerer’s Apprentice off to work manipulating unseen forces. After much humorous fun using huge orchestral
resources the movement ends positively.
NEPTUNE, the
Mystic -
Programme notes by Jonathan Hodgetts
www.SalisburySymphonyOrchestra.org.uk