Classical Club April 2006 - Holst: The Planets

[matrixman]

Gustav Holst: The Planets

I like to pretend that this is a portrait of our "planets" in the solar system, meanwhile knowing fully that Holst was referring to astrological entities, not astronomical bodies. Each movement is supposed to represent the feelings or ideas associated with its particular Roman deity. (Personally, I'm not a fan of astrology, so I basically reject that interpretation of the music and substitute my own purely secular, non-occult view.) Such abstract talk doesn't change the music itself, but in a work like this, extra-musical meaning is implied and encouraged - what with subtitled movements so blatantly begging for attention. Holst wrote that, "As a rule, I only study things that suggest music to me." So astrology was only really important to Holst in that the idea of these different deities helped inspire the framework for an extended orchestral suite, at a time when he was finding large-scale composition difficult. I'd say he overcame that difficulty and then some! He shaped The Planets to ensure maximum contrast between movements.

Mars, the Bringer of War -- I love how this piece quietly opens, the way it ominously emerges from the darkness, and builds and builds until the whole orchestra is unleashed, hammering out that relentless 5/4 rhythm - a propulsive sound that has found its way into rock music and motion picture scores. Holst completed Mars just before the outbreak of the First World War, thus the piece was regarded in hindsight as a premonition of things to come (along with Stravinsky's Rite of Spring). The music itself certainly sounds violent enough to suggest all kinds of catastrophe taking place. It reminds me of the 1st movement of Beethoven's 9th Symphony: Mars is like a powerfully condensed version of that symphony's own cosmic drama.

Venus, the Bringer of Peace -- the first time I heard this, I felt it was the most serene piece of music I had ever come across. I still can't think of a better or more sublime musical representation of "peace." The silky violin sound of this music is utterly beautiful and seductive...like the goddess herself (but that's getting into the other mythology). Mars and Venus are a complementary pair in both classical mythology and astrology. Holst must have delighted in these dualities as he was putting The Planets together. At any rate, after the savagery of Mars, the lyricism of Venus sweeps away the violence and terror, putting in their place a calm optimism.

Mercury, the Winged Messenger -- again, Holst captures in musical language the feelings evoked by the titles, in this case the sense of what it is to be swift and agile, in both body and spirit. It's also appropriate that this is the shortest piece in the work: Mercury isn't interested in hanging around and outstaying his welcome, he's eager to deliver his message and be on his way. The delicate, chamber-quality orchestration carries the Messenger effortlessly on his divine errands.

Jupiter, the Bringer of Jollity -- with an ecstatic eruption of violins, Jupiter announces his jolly ol' self. Again with the musical juxtaposing, Mercury and Jupiter are contrasting pairs of scherzos, and where Mercury is fleet, Jupiter is heavy-footed. This piece is just a whole lotta fun to listen to - a rambunctious, joyous noise. It's considered the most "conservative" movement, and the most "English," since its noble central melody came to represent English public school patriotism. I think of Jupiter as the "anchor" of The Planets: the work builds to this central emotional high, after which the rest of the music becomes generally more subdued and melancholic than the first half. (I admit I usually stop The Planets after Jupiter.)

Saturn, the Bringer of Old Age -- we've now left behind the self-sure deities: the martial swagger of Mars, the utopian poise of Venus, the youthful vigor of Mercury, and the gregarious charm of Jupiter - characters all confident in their own vision. But Saturn understands doubt. Saturn is said to portray "identifiably" human reactions to the onset of old age. What do you think they might be? Resignation and sorrow come to mind, among many emotions. The Bringer of Old Age does seem to lurch and pause more than his confident brethren, like he's burdened by his regrets. Again, that's Holst's brilliant musical imagination for you. (Or maybe it's my deluded imagination, I'm not sure which.) One might suppose that the tolling bell towards the end is death's knell. Saturn was apparently Holst's own favorite piece among The Planets.

Uranus, the Magician -- this musical portrait is not of a dignified sort of magician, but more like an old, absent-minded wizard, with a crooked hat and maybe mismatched shoes. The music bumbles along with the old fellow, accompanying his declining years and waning powers. However, the Eureka!-like glissando on the organ about 4 minutes in suggests that the Magician still has a few tricks up his sleeve. And the startling, strident cry of horns at the end is like a final, amazing spell. It's as if it unlocks a key and opens a doorway to...

Neptune, The Mystic -- we began with the awesome firepower of Mars, a full-blooded ode to the epic romanticism of Wagner. We now end with the impressionistic Neptune, a nod to the modernism of Debussy, the "anti-Wagner." Truly mystical, this music transcends mortal concerns and human frailties. Neptune provides a glimpse into infinity - or nothingness? - as a wordless and ethereal women's choir floats somewhere "out there." Holst doesn't give us the kind of firm resolution that is standard in classical compositions. Neptune is a non-ending to the whole thing. The music just ebbs away, its final notes lost in the void, leaving you perhaps lost in thought, or perhaps reaching forward to turn up the volume.

There are many, many recordings of The Planets to be found, but I'll mention my favorite two: the Berlin Philharmonic under Herbert von Karajan, and the Chicago Symphony under James Levine. Both are spectacular-sounding CDs, but for a pure sonic adrenaline rush, I'd give Chicago & Levine the edge. In fact, the Chicago version still puts to shame newer recordings of The Planets that I've listened to. But then, few other orchestras in the world can match those glorious Chicago horns. I agree with the user reviews on Amazon that Levine's is an overlooked gem. (I think it also has one of the best-looking Planets CD covers.) Highly recommended!

If anyone would like a sample of Levine's version (I mean an honestly good-sounding music file, as opposed to the crappy audio morsel you get at Amazon), just PM me. In fact, I'd be just as happy to send a copy of the entire recording, in either lossy or lossless format. I know it's probably just as easy for those of you with credit cards to click on Amazon and buy it, so here's a link to the Levine CD just for you:

Holst: The Planets / Chicago Symphony Orchestra, James Levine

Here's a good Wikipedia article that gives examples of The Planets' influence in pop culture: en.wikipedia.org/wiki/The_Planets

Here's another nice summary of the Planets at the Gustav Holst site:
www.gustavholst.info/compositions/listi ... iece_id=18

[duchess of malfi]

I was listening to The Planets the other week at work, and one of my coworkers wandered into my area. Mars was playing, and she asked me which science fiction film's soundtrack I was listening to. Her mouth dripped open when I told her I was listening to a piece of classical music which was nearly 100 years old. I got more than a bit of a kick out of that.

When I was younger my favorite was Mars. My tastes must have changed abit at some point, because while I still enjoy Mars, I recently discovered that the song I keep replaying is now Jupiter.

[matrixman]

Ha, what a perfect story, duchess. One could say The Planets was the "original" sci-fi movie soundtrack.

As mentioned in the Wikipedia article, the last moments of John Williams's music for the Death Star trench run in Star Wars also resembles the final moments of Mars. I never really made the connection until that was pointed out to me, and now it seems obvious.

Wikipedia didn't mention The Black Hole, but I think that's another sci-fi flick that briefly quotes The Planets: right the beginning, just before the film's main theme opens, a two-note refrain is heard that sure sounds like the start of Saturn, the Bringer of Old Age.

[aTOMiC]

I'm a Johnny-Come-Lately to Holst. I recently acquired the music and was taken aback instantly. Once I learned the history of the symphony and its age my first thought was that John Williams HAD to have been inspired by The Planets. He may have stated as much and I may have missed those comments. BTW I became an instant fan of Holst with the first listen.

[matrixman]

I immediately liked The Planets on my first listen, too. Up to Jupiter, anyway.

Incidentally, John Williams did record a version of The Planets with the Boston Symphony or Pops Orchestra, but I've never heard it. I think it would've been more interesting if he had done it with the London Symphony, since that was the orchestra he used for many of his best-known film scores. You could say that the original Star Wars soundtrack was the first "music drama" I ever listened to without realizing it.

[onewyteduck]

Hands down, my favorite classical piece! I have the Royal Philharmonic Orchestra but may have to check out the Levine!

[Usivius]

Fantasitc review MM! When I was listening to it at home I jotted down some notes. As I look back at your review and just had to scrap my notes for you have mentioned everything perfectly.

Oh so briefly without sounding like a clone:
Mars is my favourite. Yah, everyone knows it but it is one of those peices that has genuine POWER! I love it.
That little piece of Mercury is a gem. I love it. It is so fleet of foot...
Jupiter ... ah, can't ... you said it well.
Saturn, although I can understand how beautiful it is and fits with the theme, it is not one of my favourites. It plods along to long ... just like an old man ...
Uranus, funny how you mention it as being anelderly magician who still has a few tricks up his sleeve. It has that kind of duality that sneeks up on you. I liked it. It was a very visual piece for me.
Neptune ... I haven't quite figured this piece out yet. I understand it, but ... I dunno. It doesn't call to me yet. But your words about it are apt and true.

Great review of a great body of music MM...

[matrixman]

Thank you for the very kind comments, Usivius. It wasn't easy for me to get my thoughts down. Had to listen to the music several times before I really got into the spirit of the thing. Like you, I still haven't really warmed to the "outer" planets of Saturn, Uranus and Neptune. Maybe that's because they're friggin' COLD! They're how many gazillion kilometres away from the Sun?? Brrrrr....and I thought Winnipeg winters were cold.

Hey, Ducky, nice to know the Planets is your favorite classical piece! I really haven't listened to that many versions myself, but I can still recommend the Levine/Chicago one without hesitation.