Deep Dive: Holst's "The Planets"
Duration: ~50 minutes
Premiered: 1918
Movements: Seven
Listen:
Overview
Gustav Holst’s “The Planets,” Op. 32, stands as one of the 20th century’s orchestral masterpieces. Crafted between 1914 and 1916, this suite for large orchestra consists of seven movements, each dedicated to a different planet and its corresponding astrological character.
This is a piece I commonly recommend to listeners who are not familiar with classical music, as the melodies and soundscapes of the work are easily digestible and reminiscent of modern film music, such as Star Wars.
Rather than a reflection on the astronomical aspects, Holst focused on the mythical and astrological qualities associated with each celestial body. The work is known for its rich orchestration, varied moods, and the innovative use of instruments to evoke distinct atmospheres for each planet. The experimental nature of Holst's music caused some initial hostility among a minority of critics, but the suite quickly became and has remained popular, influential and widely performed.
Listening Guide
Mars, the Bringer of War:
Opening with percussive rhythms in strings and timpani, Holst crafts tension through the unusual 5/4 time signature. The brass introduces a militant and foreboding theme, emphasizing the tritone—a historically dissonant interval. This movement’s orchestration, with its bold brass declarations and strings' aggressive bowing, conjures the image of an army advancing towards battle.
Venus, the Bringer of Peace:
As Mars fades, Venus introduces itself with beautiful harmonies in the strings, adorned with gentle harp arpeggios. The opening violin solo, which is later played by the whole section, sets the tone with a peaceful theme. According to Imogen Holst, Venus "has to try and bring the right answer to Mars."Mercury, the Winged Messenger:
Mercury’s vivacity is rendered through staccato passages in the woodwinds and strings. Holst's use of varying rhythmic patterns, dramatic dynamic shifts, and playful interplay between instruments encapsulates the fleeting nature of the messenger god. This movement is particularly difficult for strings, as there a multiple virtuosic and fast passages in the high register.
Jupiter, the Bringer of Jollity:
Perhaps one of the most recognizable pieces of all time, Jupiter is sure to bring the listener joy. Holst introduces Jupiter with robust, jubilant themes, using the full weight of the orchestra. As the movement develops, listen for the contrasting central theme, a chorale that exudes nobility. This section, known for its emotional depth, was later adapted into the hymn "I Vow to Thee, My Country."Saturn, the Bringer of Old Age:
Although not as popular as Jupiter, Saturn is my personal favorite movement of “The Planets.” The heavy, plodding rhythms, combined with the tolling of deep bells, encapsulate the relentless progression of time. Although likely not Holst’s intention, Saturn reminds me most of space and space travel. About halfway through the movement, you can begin hear the two harps begin to play in syncopated rhythyms, followed by a pulsing motif in the flutes. The string section brings in the theme for this section, which I believe culminates in one of the most beautiful endings of a movement in the entire classical repertoire. This whole section reminds me of an astronaut emerging from deep space hibernation, only to look out the window and see the rings of Saturn.
Uranus, the Magician:
Beginning with a forceful, rhythmic motif that's reminiscent of a sorcerer's dance, Holst employs the xylophone and bassoons to lend an element of capriciousness. Dynamic shifts, interspersed with quieter, mysterious sections, paint a picture of a magician’s unpredictable nature. An extremely chaotic movement, Uranus is sure to put the listener on the edge of their seat.Neptune, the Mystic:
This final movement floats in with nebulous harmonies, utilizing the strings in their higher registers and employing extended bowing techniques that give a whispering, wispy sound. As the movement develops, the orchestra is joined by an offstage female chorus singing a non-lyrical melody, which was a progressive technique at the time. The movement ends as the door between the singers and the audience gradually closes, reminiscent of a modern electronic “fadeout.”
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