Best Place to Download the Planets Gustav Holst

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Orchestral suite past Gustav Holst

This article is near the orchestral suite by Gustav Holst. For the planets in the solar system, see Solar System. For other uses, run across Planet (disambiguation).

The Planets
Orchestral suite by Gustav Holst
The-Planets-score-cover.jpg

Holst's re-create of the showtime edition
Opus 32
Based on Astrology
Composed 1914 (1914)–17
Movements 7
Scoring Orchestra and female chorus
Premiere
Appointment 29 September 1918 (1918-09-29)
Location Queen'southward Hall, London
Conductor Adrian Boult

The Planets , Op. 32, is a vii-movement orchestral suite past the English composer Gustav Holst, written between 1914 and 1917. In the terminal motion the orchestra is joined past a wordless female chorus. Each movement of the suite is named after a planet of the Solar Organization and its supposed astrological character.

The premiere of The Planets was at the Queen'southward Hall, London on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of most 250 people. Three concerts at which movements from the suite were played were given in 1919 and early 1920. The first complete operation at a public concert was given at the Queen's Hall on 15 Nov 1920 by the London Symphony Orchestra conducted by Albert Coates.

The innovative nature of Holst'southward music caused some initial hostility amid a minority of critics, but the suite quickly became and has remained popular, influential and widely performed. The composer conducted two recordings of the work, and it has been recorded at least lxxx times later past conductors, choirs and orchestras from the Britain and internationally.

Groundwork and composition [edit]

Bespectacled white man of middle age, clean-shaven, leaning on his right hand and looking at camera

The Planets was composed over most three years, betwixt 1914 and 1917.[1] The work had its origins in March and Apr 1913, when Gustav Holst and his friend and distributor Balfour Gardiner holidayed in Spain with the composer Arnold Bax and his brother, the author Clifford Bax. A word about astrology piqued Holst's interest in the subject area. Clifford Bax later on commented that Holst became "a remarkably skilled interpreter of horoscopes".[two] Shortly subsequently the holiday Holst wrote to a friend: "I just study things that suggest music to me. That's why I worried at Sanskrit.[north one] So recently the grapheme of each planet suggested lots to me, and I accept been studying astrology fairly closely".[4] He told Clifford Bax in 1926 that The Planets:

… whether it's good or bad, grew in my mind slowly—similar a baby in a woman's womb ... For two years I had the intention of composing that wheel, and during those 2 years information technology seemed of itself more and more definitely to be taking course.[v]

Imogen Holst, the composer's daughter, wrote that her father had difficulty with large-scale orchestral structures such as symphonies, and the idea of a suite with a split character for each motion was an inspiration to him.[6] Holst's biographer Michael Brusk and the musicologist Richard Greene both think it likely that another inspiration for the composer to write a suite for large orchestra was the example of Schoenberg's Five Pieces for Orchestra.[7] [n 2] That suite had been performed in London in 1912 and over again in 1914; Holst was at one of the performances,[half dozen] and he is known to take owned a re-create of the score.[8]

Holst described The Planets as "a serial of mood pictures", acting as "foils to one another", with "very little dissimilarity in any one of them".[nine] Short writes that some of the characteristics the composer attributed to the planets may accept been suggested by Alan Leo'south booklet What is a Horoscope?, which he was reading at the fourth dimension.[x] Holst took the title of two movements – "Mercury, the Winged Messenger" and "Neptune, the Mystic" – from Leo'south books.[11] Just although astrology was Holst's starting signal, he arranged the planets to conform his own programme:

... ignoring some important astrological factors such as the influence of the sun and the moon, and attributing certain not-astrological qualities to each planet. Nor is the gild of movements the aforementioned equally that of the planets' orbits round the sun; his only benchmark existence that of maximum musical effectiveness.[10]

In an early sketch for the suite Holst listed Mercury equally "no. i", which Greene suggests raises the possibility that the composer'southward first idea was simply to draw the planets in the obvious club, from nearest the dominicus to the farthest. "However, opening with the more agonizing character of Mars allows a more dramatic and compelling working out of the musical cloth".[12]

Holst had a heavy workload every bit caput of music at St Paul's Girls' School, Hammersmith and director of music at Morley College,[13] and had express fourth dimension for composing. Imogen Holst wrote, "Weekends and holidays were the only times when he could actually become on with his ain work, which is why it took him over two years to finish The Planets". She added that Holst's chronic neuritis in his right arm was troubling him considerably and he would have found it incommunicable to complete the 198 pages of the big full score without the help of two colleagues at St Paul's, Vally Lasker and Nora 24-hour interval, whom he called his "scribes".[14]

The first motility to be written was Mars in mid-1914, followed past Venus and Jupiter in the latter part of the twelvemonth, Saturn and Uranus in mid-1915, Neptune later on in 1915 and Mercury in early on 1916. Holst completed the orchestration during 1917.[1]

Commencement performances [edit]

Simply before the Ceasefire, Gustav Holst flare-up into my office: "Adrian, the YMCA are sending me to Salonika quite shortly and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, total of the Queen'southward Hall Orchestra for the whole of a Sunday morning. Then we're going to practice The Planets, and y'all've got to conduct."

Adrian Boult[15]

The premiere of The Planets, conducted at Holst's request by Adrian Boult, was held at curt notice on 29 September 1918, during the last weeks of the Commencement World War, in the Queen's Hall with the financial back up of Gardiner. It was hastily rehearsed; the musicians of the Queen's Hall Orchestra first saw the complicated music only 2 hours before the performance, and the choir for Neptune was recruited from Holst's students at Morley College and St Paul's Girls' School.[sixteen] Information technology was a comparatively intimate affair, attended by around 250 invited associates, but Holst regarded it every bit the public premiere, inscribing Boult's re-create of the score, "This copy is the belongings of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst."[15]

young white man with receding dark hair and large dark moustache

Adrian Boult, who "who showtime caused the Planets to shine in public"

At a Royal Philharmonic Society concert at the Queen's Hall on 27 February 1919 conducted by Boult, five of the 7 movements were played in the order Mars, Mercury, Saturn, Uranus, and Jupiter.[17] It was Boult's decision not to play all vii movements at this concert. Although Holst would have liked the suite to be played complete, Boult's view was that when the public were being presented with a completely new language of this kind, "one-half an hour of information technology was as much as they could take in".[18] Imogen Holst recalled that her male parent "hated incomplete performances of The Planets, though on several occasions he had to hold to comport three or four movements at Queen's Hall concerts. He particularly disliked having to terminate with Jupiter, to brand a 'happy ending', for, as he himself said, 'in the real globe the stop is not happy at all'".[19]

At a Queen'southward Hall concert on 22 November 1919, Holst conducted Venus, Mercury and Jupiter.[n 3] There was another incomplete public operation, in Birmingham, on 10 October 1920, with five movements (Mars, Venus, Mercury, Saturn and Jupiter), conducted past the composer.[21] The showtime complete operation of the suite at a public concert was on 15 Nov 1920; the London Symphony Orchestra was conducted past Albert Coates.[north 4] The first consummate performance conducted by the composer was on 13 October 1923, with the Queen's Hall Orchestra.[23]

Instrumentation [edit]

The work is scored for a big orchestra. Holst's fellow composer Ralph Vaughan Williams wrote in 1920, "Holst uses a very big orchestra in the Planets not to make his score look impressive, just because he needs the actress tone colour and knows how to use it".[24] The score calls for the following instrumentation. The movements vary in the combinations of instruments used.

  • Woodwinds: 4 flutes (third doubling first piccolo and quaternary doubling second piccolo and "bass flute in G", actually an alto flute),[25] three oboes (third doubling bass oboe), one cor anglais, iii clarinets in B ♭ and A, one bass clarinet in B ♭ , three bassoons, one contrabassoon
  • Brass: 6 horns in F, four trumpets in C, two trombones, one bass trombone, one tenor tuba in B ♭ (often played on a euphonium), one tuba
  • Percussion: seven timpani (two players), bass drum, snare pulsate, cymbals, triangle, tam-tam, tambourine, glockenspiel, xylophone, tubular bells
  • Keyboards: celesta, organ
  • Strings: two harps, violins i, ii, violas, cellos, double basses

In Neptune, two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added.

Source: Published score.[26]

Construction [edit]

1. Mars, the Bringer of War [edit]

The planet

Its astrological symbol

Mars is marked allegro and is in a relentless 5
4 ostinato for most of its duration. Information technology opens quietly, the first two bars played by percussion, harp and col legno strings.[27] The music builds to a quadruple-forte, dissonant climax.[28] Although Mars is often thought to portray the horrors of mechanised warfare, information technology was completed before the Outset World War started. The composer Colin Matthews writes that for Holst, Mars would take been "an experiment in rhythm and clashing keys", and its violence in performance "may have surprised him as much every bit information technology galvanised its starting time audiences".[29] Curt comments, "harmonic dissonances abound, often resulting from clashes between moving chords and static pedal-points", which he compares to a similar effect at the end of Stravinsky's The Firebird, and adds that although battle music had been written earlier, notably by Richard Strauss in Ein Heldenleben, "it had never expressed such violence and sheer terror".[30]

2. Venus, the Bringer of Peace [edit]

The second movement begins adagio in 4
4 .[31] According to Imogen Holst, Venus "has to attempt and bring the right answer to Mars".[32] The movement opens with a solo horn theme answered quietly past the flutes and oboes. A 2nd theme is given to solo violin. The music proceeds tranquilly with oscillating chords from flutes and harps, with decoration from the celesta.[32] Between the opening adagio and the central largo in that location is a flowing andante department in 3
4 with a violin tune (solo then tutti) accompanied past gentle syncopation in the woodwind. The oboe solo in the fundamental largo is one of the last romantic melodies Holst allowed himself earlier turning to a more than ascetic manner in later works.[32] Leo chosen the planet "the most fortunate star under which to be born";[33] Short calls Holst's Venus "i of the about sublime evocations of peace in music".[34]

iii. Mercury, the Winged Messenger [edit]

Mercury is in six
8 and is marked vivace throughout.[35] The composer R. O. Morris thought it the nearest of the movements to "the domain of programme music pure and elementary ... information technology is essentially pictorial in idea. Mercury is a mere activity whose grapheme is non defined".[36] This movement, the last of the vii to be written, contains Holst's first experiments with bitonality.[37] He juxtaposes melodic fragments in B ♭ major and Due east major, in a fast-moving scherzo. Solo violin, high-pitched harp, flute and glockenspiel are prominently featured. Information technology is the shortest of the seven movements, typically taking between iii½ and 4 minutes in operation.[38]

4. Jupiter, the Bringer of Jollity [edit]

In this movement Holst portrays Jupiter's supposedly characteristic "abundance of life and vitality" with music that is buoyant and exuberant.[x] Dignity and generosity are allegedly characteristics of those born under Jupiter, and in the slower heart section Holst provides a broad melody embodying those traits.[10] It has been compromised by its later use every bit the melody for a solemn patriotic hymn, "I Vow to Thee, My Country",[13] [due north five] but the music writer Lewis Foreman comments that the composer did non think of it in those terms, as shown by his own recordings of the movement.[39] The opening department of the motion is marked allegro giocoso, in ii
4 time.[40] The second theme, at the same tempo, is in 3
4 time, as is the broad melody of the centre section, marked andante maestoso, which Holst marks to be taken at half the speed of the opening section.[41] The opening section returns and after a reappearance of the maestoso melody – its expected terminal cadence unresolved, as in its first advent – the movement ends with a triple forte quaver chord for the total orchestra.[42]

five. Saturn, the Bringer of Old Historic period [edit]

Saturn was Holst'southward favourite movement of the suite.[29] Matthews describes it as "a dull processional which rises to a frightening climax before fading away as if into the outer reaches of space".[29] The motility opens every bit a quiet adagio in 4
4 and the basic pace remains tiresome throughout, with short bursts of animato in the offset office and a switch to andante in 3
2 in the afterwards section.[43] Apart from the timpani no percussion is used in this move except for tubular bells at climactic points.[44] At the beginning, flutes, bassoons and harps play a theme suggesting a ticking clock.[44] A solemn tune is introduced past the trombones (Holst's own principal instrument) and taken up by the full orchestra.[45] A evolution of the ticking theme leads to a clangorous triple forte climax, subsequently which the music dies abroad and ends quietly.[46]

half dozen. Uranus, the Wizard [edit]

Matthews describes the graphic symbol of the movement as that of "a clumsy dance, which gradually gets more and more out of hand (non unlike Dukas'south Sorcerer'due south Apprentice) until, with what seems like a magic wand, all is abruptly swept away into the far distance".[29] [n half dozen] The motility, which begins with a what Short calls "a tremendous four-notation contumely motif",[47] is marked allegro in 6
4 . The music proceeds in "a series of merry pranks" with occasional interjections in nine
4 , building to a quadruple forte climax with a prominent organ glissando,[48] after which the music suddenly drops to a pianissimo lento before alternate quick and tedious sections bring the movement to its pianissimo conclusion.[49]

7. Neptune, the Mystic [edit]

Opening bars: piccolo (top), 2 flutes, bass flute, oboes

The music of the last movement is serenity throughout, in a swaying, irregular metre, opening with flutes joined by piccolo and oboes, with harps and celesta prominent subsequently. Holst makes much utilize of dissonance in this movement. Before the premiere his colleague Geoffrey Toye said that a bar where the brass play chords of E minor and 1000 ♯ small together was "going to sound frightful". Holst agreed, and said information technology had made him shudder when he wrote it downwardly but, "What are you to do when they come similar that?"[fifty] Equally the move develops, the orchestra is joined by an offstage female person chorus singing a soft wordless line: this was unusual in orchestral works at the time, although Debussy had used the aforementioned device in his Nocturnes (1900).[51] The orchestra falls silent and the unaccompanied voices bring the work to a pianissimo conclusion in an uncertain tonality, equally a door between the singers and the auditorium is gradually closed.[n 7]

Reception [edit]

inscription in black ink reading "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst."

Holst'southward inscription on Boult'south copy of the score

Imogen Holst wrote of the 1918 premiere nether Boult:

Even those listeners who had studied the score for months were taken ashamed by the unexpected clamour of Mars. During Jupiter the charwomen working in the corridors put down their scrubbing-brushes and began to trip the light fantastic toe. In Saturn the isolated listeners in the dark, half-empty hall felt themselves growing older at every bar. But information technology was the end of Neptune that was unforgettable, with its hidden chorus of women's voices growing fainter and fainter in the distance, until the imagination knew no difference betwixt sound and silence.[54]

When the music was starting time introduced to the general public in February 1919, critical stance was divided. Greene prints a summary of reviews of the outset four public performances of the suite (or movements from it) in Feb and Nov 1919 and October and November 1920. Positive reviews are recorded in 28 of the 37 papers, magazines and journals cited.[55] A small minority of reviewers were particularly hostile, among them those of The Globe ("Noisy and pretentious)";[56] The Sun Times ("Pompous, noisy and unalluring"),[57] and The Times ("a groovy disappointment … elaborately contrived and painful to hear").[north 8] The critic in The Saturday Review wrote that Holst apparently regarded the planets "as objectionable nuisances that he would oust from our orbit if he could".[59]

The Times quickly changed its mind; in July 1919 information technology called Holst the most intriguing of his compeers and commented, "The Planets nonetheless leaves us gasping";[60] after hearing Holst conduct iii of the movements in November 1919 the paper'due south critic declared the piece "the first music by an Englishman we accept heard for some time which is neither conventional nor negligible",[57] and past the time of Holst's death in 1934 the paper's assessment of the piece was "Holst's greatest piece of work":

Each of the seven numbers shows one aspect of life regarded with a detached and unflinching scrutiny. In this suite Holst, with the directness which was characteristic of his personal intercourse and grapheme, and which comes out in spite of all his mysticism in the technique of his music, sets along with every elaboration his fundamentally simple view of what life brings. The work is original in formulation, in its philosophical implications, in its scoring, and in its harmonic and rhythmic idiom.[61]

The Sunday Times, too, quickly changed its line. In 1920 its new music critic, Ernest Newman, said that Holst could practice "easily, without a fuss" what some other composers could only practice "with an endeavor and a smirk", and that in The Planets he showed "one of the subtlest and well-nigh original minds of our fourth dimension. Information technology begins working at a musical problem where most other minds would leave off".[62] Newman compared Holst'due south harmonic innovations to those of Stravinsky, to the latter's disadvantage, and expressed none of the reservations that qualified his admiration of Schoenberg's V Pieces for Orchestra.[57]

Recordings [edit]

There have been at least 80 commercial recordings of The Planets.[63] Holst conducted the London Symphony Orchestra in the beginning two recorded performances: the first was an audio-visual recording fabricated in sessions between September 1922 and November 1923;[64] the second was fabricated in 1926 using the new electric recording procedure.[65] Holst'due south tempi are in full general faster than those of near of his successors on tape. This may take been due to the need to fit the music on 78 rpm discs, although later 78 versions are slower. Holst'south later on recording is quicker than the acoustic version, possibly because the electrical process required wider grooves, reducing the available playing time.[66] Other, slower, recordings from the 78 era include those conducted past Leopold Stokowski (1943)[67] and Sir Adrian Boult (1945)[68] Recordings from the LP age are also typically longer than the composer's, but from the digital era a 2010 recording by the London Philharmonic Orchestra conducted by Vladimir Jurowski is quicker than Holst's acoustic version and comes close to matching his 1926 speeds, and in 2 movements (Venus and Uranus) surpasses them.[69] There were no commercial recordings of the piece of work in the 1930s; timings are given below of a recording representing each subsequent decade upward to the 2010s:

Source: Naxos Music Library.[70]

Additions, adaptations and influences [edit]

Pluto

Its astrological symbol

In that location have been many adaptations of the suite, and several attempts to add together an 8th planet – Pluto – in the time betwixt its discovery in 1930 and its downgrading to "dwarf planet" in 2006. The most prominent of these was Matthews's 2000 composition, "Pluto, the Renewer", deputed by the Hallé Orchestra. Defended posthumously to Imogen Holst, it was get-go performed in Manchester on 11 May 2000, with Kent Nagano conducting. Matthews changed the ending of Neptune slightly and so that the motion would segue into Pluto.[71] Matthews's Pluto has been recorded, coupled with Holst's suite, on at least 4 occasions.[n 9] Others who have produced versions of Pluto for The Planets include Leonard Bernstein and Jun Nagao.[73]

The suite has been adjusted for numerous instruments and instrumental combinations, including organ, synthesiser, brass band, and jazz orchestra.[74] Holst used the melody of the central department of "Jupiter" for a setting ("Thaxted") of the hymn "I Vow to Thee, My Land" in 1921.[north 5]

The Planets has been taken as an influence by various rock bands, and for movie scores such as those for the Star Wars series. In that location have been numerous references to the suite in pop civilization, from films to boob tube and calculator games.[78]

Notes, references and sources [edit]

Notes [edit]

  1. ^ Holst's earlier interest in Sanskrit texts, especially the Rig Veda hymns, had led him to study the language and to compose several works based on Sanskrit texts.[3]
  2. ^ Short and the musicologist David Lambourn both comment that Holst'southward original title for his suite was "Seven Pieces for Large Orchestra".[8]
  3. ^ This was the outset public functioning of Venus.[20]
  4. ^ This was the first time Neptune was heard in a public performance.[22]
  5. ^ a b In 1986 Imogen Holst wrote that for more than half a century "the main problem in Jupiter has been the difficulty of avoiding unwanted associations with the hymn".[75] Holst's closest friend, Ralph Vaughan Williams,[76] was, inadvertently, partly to blame for the apply of the tune as a solemn hymn. He had suggested that Cecil Spring-Rice's verse should be set to music, and Holst was asked to undertake the job. Being overworked and exhausted at the time, Holst, spotting that the words fitted the maestoso tune from Jupiter, repurposed that rather than write a new i.[77]
  6. ^ Short writes that despite reminiscences of the Pan motif in Ravel's Daphnis et Chloé and of Berlioz's Symphonie fantastique and the "Infernal Dance" in Stravinsky'south The Firebird the main influence on the move is clearly The Magician's Apprentice, which was first performed in London in 1899 and was "doubtless well known to Holst".[47]
  7. ^ The choir sings alternate C modest and Due east major chords, and the musician David Owen Norris has commented that every bit the door shuts it is pure chance whether the terminal chord heard is C minor (looking back at the key of Mars) or Eastward.[52] In a 2014 article William Weir suggests that the closing bars of Neptune are an early on precursor of the electronic fade-out that became ubiquitous in recordings of popular music in the 1950s to the 1980s.[53]
  8. ^ The anonymous critic was equally dismissive of Ravel'southward Rapsodie espagnole given at the same concert.[58]
  9. ^ The Hallé, conducted by Mark Elderberry (2001); Imperial Scottish National Orchestra conducted past David Lloyd-Jones (2002); Royal Philharmonic Orchestra conducted by Owain Arwel Hughes (2004); and Berlin Philharmonic conducted by Sir Simon Rattle (2006).[72]

References [edit]

  1. ^ a b Greene, p. 27
  2. ^ Short, p. 113
  3. ^ Matthews, Colin. "Holst, Gustav(us Theodore von)", Grove Music Online, Oxford Academy Printing, 2001. Retrieved 18 June 2021 (subscription required) Archived 13 March 2020 at the Wayback Motorcar
  4. ^ Quoted in Holst (1981), p. 48
  5. ^ Bax, pp. 60–61
  6. ^ a b Holst (1986), p. 32
  7. ^ Brusque, p. 119; and Greene, p. 18
  8. ^ a b Lambourn, David. "Henry Woods and Schoenberg", The Musical Times , August 1987, pp. 422–427 (subscription required) Archived 20 June 2021 at the Wayback Machine
  9. ^ Short, p. 121
  10. ^ a b c d Short, p. 122
  11. ^ Leo, p. 58; and Head, Raymond. "Holst – Star divination and Modernism in 'The Planets'", Tempo , December 1993, pp. fifteen–22 (subscription required)
  12. ^ Greene, p. 19
  13. ^ a b Warrack, John. "Holst, Gustav Theodore" Archived 20 June 2021 at the Wayback Machine, Oxford Dictionary of National Biography, Oxford University Press, 2011. Retrieved 18 June 2021 (subscription or United kingdom of great britain and northern ireland public library membership required)
  14. ^ Holst (1981), p. 50
  15. ^ a b Boult (1973) p. 35
  16. ^ Holst (1986), p. 159
  17. ^ "London Concerts", The Musical Times, April 1919, p. 179 (subscription required) Archived 22 January 2019 at the Wayback Car
  18. ^ Kennedy, p. 68
  19. ^ Holst (1974), p. 125
  20. ^ "London Concerts", The Musical Times, January 1920, p. 32 (subscription required) Archived 7 March 2016 at the Wayback Machine
  21. ^ "Music in the Provinces" Archived 22 Jan 2019 at the Wayback Car, The Musical Times, 1 November 1920, p. 769; and "Municipal Music in Birmingham", The Manchester Guardian, 11 October 1920, p. half-dozen
  22. ^ "London Concerts"'The Musical Times, Dec 1920, p. 821 (subscription required) Archived 22 January 2019 at the Wayback Machine
  23. ^ "Winter Concerts: Plan for Season", The Times, 17 September 1923, p. x; and "Music", The Observer, 14 Oct 1923, p. x
  24. ^ Vaughan Williams, Ralph. "Gustav Holst (Continued)", Music & Messages , Oct 1920, p. 314 (subscription required)
  25. ^ "Combined part of 3rd and 4th flute" (PDF). Archived from the original (PDF) on 25 Dec 2017. Retrieved vi December 2013.
  26. ^ Holst (1921), unnumbered introductory page
  27. ^ Holst (1921), pp. 1–2
  28. ^ Holst (1921), p. 29
  29. ^ a b c d Matthews, Colin (2011). Notes to Chandos CD CHSA5086 OCLC 887360432
  30. ^ Curt, pp. 123–124
  31. ^ Holst (1921), p. 32
  32. ^ a b c Holst (1986), p. 34
  33. ^ Greene, p. 47
  34. ^ Short, p. 126
  35. ^ Holst (1921), pp. 44–72
  36. ^ Quoted in Greene, p. 52
  37. ^ Holst (1986), pp. 34–35
  38. ^ Notes to Cala CD CACD0526 OCLC 46880671; Notes to Gorging CD AMSC 582 OCLC 45217594; and Notes to LPO CD LPO-0047 OCLC 871404142
  39. ^ Foreman, Lewis (2001). Notes to Hyperion CD 55350-B OCLC 276175700
  40. ^ Holst (1921), p. 78
  41. ^ Holst (1921), p. 91
  42. ^ Holst (1921), p. 112
  43. ^ Holst (1921), pp. 113 and 122
  44. ^ a b Holst (1921), p. 113
  45. ^ Holst (1921), pp. 113–115
  46. ^ Holst (1921), p. 131
  47. ^ a b Short, pp. 130–131
  48. ^ Holst (1921), p. 159
  49. ^ Holst (1921), pp. 160–161
  50. ^ Boult (1979), p. 32
  51. ^ Short, p. 131
  52. ^ Norris, David Owen. "The Planets", Edifice a Library, BBC Radio three podcast, retrieved ix July 2021. Event occurs at 46m 15s
  53. ^ Weir William. "A Piddling Bit Softer Now, a Footling Bit Softer Now …", Slate, 14 September 2014. Retrieved xx June 2021
  54. ^ Holst (2008), pp. 52–53
  55. ^ Greene, pp. 34–35
  56. ^ "Imperial Philharmonic Society", The World, ane March 1919, p. 13
  57. ^ a b c Greene, p. 32
  58. ^ "Regal Combo Society", The Times, 28 Feb 1919, p. 14
  59. ^ "Some eminent pianists compared", The Sabbatum Review, 8 March 1919, p. 224
  60. ^ "The Prince of Wales at the R.C.K.", The Times, 5 July 1919, p. fifteen
  61. ^ "Mr Gustav Holst", The Times, 26 May 1934, p. 7
  62. ^ Newman, Ernest. "The Calendar week's Music", The Sunday Times, 21 November 1920, p. 7
  63. ^ "The Planets" Archived twenty June 2021 at the Wayback Motorcar, WorldCat. Retrieved 19 June 2021
  64. ^ Short, pp. 204 and 215
  65. ^ Holst (1986), p. 143
  66. ^ Short, p. 247
  67. ^ Notes to Cala CD CACD0526 OCLC 46880671
  68. ^ Notes to Avid CD AMSC 582 OCLC 45217594
  69. ^ Notes to LPO CD LPO-0047 OCLC 871404142
  70. ^ "The Planets", Naxos Music Library. Retrieved 18 June 2021 (subscription required) "Archived copy". Archived from the original on xx June 2021. Retrieved 20 June 2021. {{cite web}}: CS1 maint: archived copy as title (link) CS1 maint: bot: original URL status unknown (link)
  71. ^ Scott Rohan, Michael, Review, Gramophone, August 2001, p. l
  72. ^ Respectively, OCLC 52986761, OCLC 58975552, OCLC 1022851419 and OCLC 760128838
  73. ^ Scott Rohan, Michael, Review, Gramophone, August 2001, p. 50; Hambrick, Jennifer. "The Missing Planet: Lookout man Leonard Bernstein Improvise 'Pluto, the Unpredictable'". WOSU Public Media. WOSU Radio. Archived from the original on 12 January 2019. Retrieved 12 January 2019. ; and "Earth, The, from "The Planets" by Trouvère". Wind Repertory Project . Retrieved 6 July 2019.
  74. ^ Holst: Music for Ii Pianos, Naxos catalogue no. eight.554369, About This Recording Archived 4 July 2009 at the Wayback Machine; Peter Sykes. " Holst: The Planets Archived 29 September 2011 at the Wayback Car." HB Direct, Released 1996; "Peter Sykes". Peter Sykes. Archived from the original on 2 Nov 2013. Retrieved 6 December 2013. ; Isao Tomita. " Tomita's Planets Archived nineteen August 2010 at the Wayback Machine." HB Directly, Released 1976; Stephen Roberts Archived fourteen June 2009 at the Wayback Automobile at 4barsrest.com;"DownBeat Reviews". downbeat.com. Archived from the original on 24 September 2020. Retrieved 17 March 2021.
  75. ^ Holst (1986), p. 144
  76. ^ Vaughan Williams, p. 200
  77. ^ Short, p. 197; and Holst (1986), p. 137
  78. ^ "King Crimson – Mars". Paste Mag. Archived from the original on 10 Apr 2017. Retrieved 10 April 2017. ;"Archived copy". Archived from the original on 25 August 2012. Retrieved 27 July 2017. {{cite web}}: CS1 maint: archived re-create equally title (link); Shobe, Michael and Kim Nowack. "The Classical Music Influences Within John Williams' 'Star Wars' Score," Archived 3 July 2017 at the Wayback Car WQXR (Dec 17, 2015)

Sources [edit]

  • Bax, Clifford (1936). Ideas and People. London: Lovat Dickson. OCLC 9302579.
  • Boult, Adrian (1973). My Own Trumpet. London: Hamish Hamilton. ISBN978-0-24-102445-four.
  • Boult, Adrian (1979). Music and Friends. London: Hamish Hamilton. ISBN978-0-24-110178-0.
  • Greene, Richard (1995). Holst: The Planets. Cambridge: Cambridge University Press. ISBN978-0-52-145000-3.
  • Holst, Gustav (1921). The Planets: Suite for Large Orchestra. London: Boosey & Hawkes. OCLC 873691404.
  • Holst, Imogen (1974). A Thematic Catalogue of Gustav Holst's Music. London: Faber & Faber. ISBN978-0-57-110004-0.
  • Holst, Imogen (1981). Holst. London: Faber & Faber. ISBN978-0-57-118032-v.
  • Holst, Imogen (1986). The Music of Gustav Holst. Oxford and New York: Oxford University Printing. ISBN978-0-xix-315458-2.
  • Holst, Imogen (2008) [1969]. Gustav Holst: A Biography (second ed.). London: Faber & Faber. ISBN978-0-571-24199-half dozen.
  • Kennedy, Michael (1987). Adrian Boult. London: Hamish Hamilton. ISBN978-0-33-348752-5.
  • Leo, Alan (1905). What is a Horoscope and How is information technology Bandage? (2d ed.). London: Modernistic Astrology. OCLC 561872689.
  • Short, Michael (1990). Gustav Holst: The Human being and his Music. Oxford and New York: Oxford University Press. ISBN978-0-19-314154-4.
  • Vaughan Williams, Ursula (1964). RVW: A Biography of Ralph Vaughan Williams. Oxford: Oxford University Printing. ISBN978-0-nineteen-315411-7.

External links [edit]

  • Links to public domain scores of The Planets:
    • The Planets: Scores at the International Music Score Library Project
    • The Planets: Suite for Large Orchestra (Score in the Public Domain)

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