Mindlybiz

Search in:
Filter posts by category:

Mindlybiz

Search in:
Filter posts by category:

The Planets

The score cover of The Planets

Composer: Gustav Holst

Length: 51m 29s

Genre: Classical

Our rating

Full StarFull StarFull StarFull StarFull Star
5 / 5
Outstanding
Bizarrometer Slider
3.5 / 5
Very Weird

Good Points ✔

  • Original and ambitious, praised by critics
  • Influential, especially in contemporary music
  • Unique time signatures and complex rhythms
  • Innovative use of dissonance and hemiolas
  • Massive orchestral arrangement adds grandeur

Bad Points ❌

  • Fame overshadowed Holst's other works
  • Holst lost motivation after its success

Your rating

.0
.0
By21st December, 2022
Two comments

Table of Contents

Table of Contents

Introduction

Listening to Gustav Holst’s The Planets, is like riding a roller-coaster of contradictory emotions.

This probably sounds unduly poetic or perhaps even corny. But, really, from the threatening-sounding Mars, the Bringer of War, to the delicate melody of Jupiter, the Bringer of Jollity that almost brings me to tears (the episode Sleepytime from the animated TV show “Bluey” may have contributed to that), there is a high chance you’ll find a movement to your liking.

Despite being over 100 years old, The Planets remains one of the most celebrated and played works in the classical music repertoire, and in this article we’ll explore the meaning of it.

Review

The Planets (op. 32) is a seven-movement orchestral suite written by Englishman Gustav Holst (1874-1934) between the years of 1914 and 1916.

Each movement was named after a planet from our solar system (Mars, Venus, Mercury, Jupiter, Saturn, Uranus and Neptune, in this order), and is supposed to reflect its astrological character, rather than astronomical significance.

Even though critical opinion was initially divided, even the harshest critics quickly changed their mind and praised The Planets as one of the most original and ambitious works of the time.

Interestingly, the fame that The Planets received during Holst’s lifetime was exactly what disenchanted Holst about the work. Somewhat paradoxically, Holst’s career was negatively affected by The Planets incredible success, as his other works were completely overshadowed and never received sufficient recognition.

As a result, Holst maintained a certain distance to the composition until his death.

For example, Pluto wasn’t incorporated in Holst’s composition because it was only discovered in 1930, almost 15 years after completion of the work.

Holst was still alive when scientists discovered Pluto, but he quickly brushed off enthusiasts’ pledges to produce another movement in honour of the newly-discovered planet. He simply had had enough of it.

As a whole, The Planets is a provocative piece. Like many innovative compositions ahead of their time, nothing like it had ever been attempted before. Even by today’s standards “The Planets” remains almost, well, unearthly.

The time signatures vary significantly within and across pieces. For example, “Mars” is mostly on 5/4, whereas other movements switch between time signatures (e.g., Jupiter goes from 2/4 to ¾). There are also complex cross-rythms in several of the movements like in “Mercury” and “Uranus”, with unusual time signatures like 9/4.

In some movements, Holst makes clever use of hemiolas, one of his favourite compositional techniques. For example, at some point in Uranus, part of the orchestra is playing in 4/4 meter, while the bass, oboe, clarinet and bassoon all play in 6/4 meter. Similarly, in Mercury, hemiolas are created by contrasting block chords in ¾ with 6/8 meter.

There is also a lot of harmonic dissonances throughout the suite, and, in most cases, they function as a way to either evoke feelings of trepidation or the perception of threat.

The Planets has been hugely influential in contemporary music as well. You may have heard about a certain composer called John Williams, who wrote music for a certain movie franchise called Star Wars?

Well, if you listen to Mars, the Bringer of War (the very first movement of The Planets), you will surely have no trouble associating it with the beat to the Stormtroopers March. Indeed, The Planets sounds as though it had been devised with cinema in mind, even though motion pictures with sound-on-film was yet to be invented.

And let’s not forget that a faithful execution of The Planets requires a gargantuan orchestra (although not as large as the likes of Mahler or Schoenberg): 16 woodwind players, 15 brass players, several percussion instruments, a massive organ, dozens of string players, and an only-women choir for the last movement.

Rating

I have to admit that, as a classical music aficionado, my evaluation of classical music pieces will tend to be somewhat biased. Nevertheless, the very fact that The Planets has remained popular for more than a century now, and has had an incredible impact on the music industry, is a testament to its quality.

It is only unfortunate that Holst completely lost motivation and desire to expand the composition after it had become such a huge success. But considering the negative effect this fame had on his later career, no-one could fault Holst for that.

In Mindlybiz, The Planets gets a star rating of 5.

Bizarrometer

There are no lyrics in Holst composition, therefore, bizarreness needs to be evaluated on the basis of the compositional techniques Holst employed.

The Planets was quite innovative at the time, and when it was initial presented to the public, it was received with a certain amount of apprehension. I believe this speaks for how strange the suite may have sounded to the ears of early twentieth-century society. Even nowadays, The Planets is a matter of study and extensive musical analysis.

The unusual musical progression and its associations with the occult, coupled with complex polyrythms, bitonality, unconventional time signatures, and generous use of dissonance makes this a relatively “weird” piece.

In Mindlybiz, The Planets gets a Bizarrometer of 3.5.

The Planets: what is it all about?

Gustav Holst had a penchant for many exotic interests that you would probably not associate with a classic composer. For example, as a student, he was an avid reader of Hindu literature and philosophy, and translated Rig Veda hymns without any experience as a linguist.

During holidays in Spain, Clifford Bax (the brother of composer Arnold Bax), impressed by Holst’s knowledge of Sanskrit texts, met with Holst and introduced him to Astrology. Holst was completely taken with it.

He diligently studied astrology to the point that he became a skilled interpreter of horoscopes.

The Planets emerged during this enticing period of his career. Indeed, Holst always maintained that the planets in his composition expressed each planet’s astrological character, rather than their astronomical or mythological significance.

The order that the planets appear in Holst’s work does not correspond to the ordering of the planets from the Sun. Instead, Holst arranged the planets in terms of proximity to Earth (Mars, Venus, Mercury, Jupiter, Saturn, Uranus, Neptune), with the exception of Mars, which should have been placed second after Venus.

The reason Holst decided to use Mars as the first movement isn’t clear, but likely relates to musical effectiveness. Mars builds up tension, and unleashes a climax, which is an ingenious way to keep the audience engaged from the get-go.

“Mars, the Bringer of War” is very much like a war march. Astrologers associate the planet Mars with violence, anger and destruction, but also of energy and action. And in this first movement, there is tension-building throughout literally the entire piece and an almost aggressive and explosive musical atmosphere.

In “Venus, the Bringer of Peace”, the contrast to the preceding movement couldn’t be greater. In Astrology, Venus is linked with beauty, peace, harmony and pleasure. This movement has the peculiarity of not incorporating any tension, so the entire movement is very hypnotic and peaceful.

“Mercury, the Winged Messenger” is the most swift and ephemerous movement of the seven. In Astrology, the planet Mercury represents communication and the way you express yourself. Indeed, in this movement, instruments play and pass the same melody around, as though a message were being relayed across the entire orchestra.

“Jupiter, the Bringer of Jollity” is the most cheerful movement of the suite. It starts with a majestic entrance, and retains this optimism throughout the piece, as if we were attending a feast of the god of the Gods (i.e., Jupiter). In Astrology, Jupiter is considered the planet of good-fortune, abundance and growth. The Waltz-like middle section leading to the beautiful melody of the “I Vow to Thee, My Country”, invokes images of peace and serenity.

“Saturn, the Bringer of Old Age” is the most ominous piece of the suite. It always lingers in this uncomfortable atmosphere where death and despair seem ubiquitous. The middle section gives the idea of approaching gigantic footsteps as if an epic battle were about to erupt. In Astrology, Saturn is the planet that enables you to overcome your fears and face the vicissitudes of life. In fact, as opposed to the other movements, Saturn appears to contain a plot-like structure to the piece: starting with a problem, exploration, confrontation, revival and resolution.

“Uranus, the Magician” starts with a fanfare of brass instruments, which develops into the downright wacky middle section. Astrologers considered Uranus to be the planet of technology, invention, originality and eccentricity. Holst’s employment of unusual time signatures and experimentation with unconventional orchestral instruments does indeed this planet’s title justice.

“Neptune, the Mystic” is perhaps the most musically obscure of the movements. In Astrology, Neptune is linked with psychic abilities, dreams and visions, all characteristics that are expressed in the music of Neptune through the employment of harmonic dissonance. Furthermore, this movement ends with a surprising faded-out only-female voices, adding extra mystery to the ultimate goal of the piece.

Note the deliberate omission of Earth from the list. This is because, in Astrology, Earth is at the center of the chart (the so-called geocentric chart). Thus, everything is relative to our position on Earth, which is why it isn’t usually considered.

But let’s first get acquainted with some of the concepts in Astrology before embarking on a more meticulous analysis of Holst’s work.

The planets in astrology: a look at their symbolic meaning
Gustav Holst and the original score of The Planets
Gustav Holst (left) and the original score of The Planets (right) [Images from Wikimedia Commons]

The Planets: the analysis

The Planets suite is composed of seven movements that refer to seven of the planets of the solar system.

Holst became interested in the planets through astrology. After 1913, he became quite adept at casting his friends’ horoscopes. It was probably during this period that Holst began associating particular astrological qualities to each the planets.

Remember the order of the planets? It goes: Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune.

Holst completely ignored this order in The Planets. In this work Mars comes first, followed by Venus, Mercury, Jupiter, Saturn, Uranus and Neptune.

Earth was excluded, since it’s not considered a planet in Astrology. Pluto was only discovered after Holst published the work, and he refused to write another movement for it.

So let’s start the analysis of The Planets movement by movement.

Mars, the Bringer of War

In Astrology, Mars is linked with several negative aspects such as violence, anger and impulsivity. It is also associated with action, energy and driving force.

Holst was spot-on in conveying these attributes in the first movement of his suite, without the recourse to lyrics.

This movement is easily recognisable by the intimidatory snare drums and brass instruments that shape the initial motif. You can feel a dark and ominous tension building up, as if warning us of an impending war cataclysm that is about to erupt:

Even the string instruments are contributing to this war march by playing “con legno battuto”, meaning they are striking the strings of the instrument with the stick of the bow.

The orchestra is instructed to play loud, and it’s really quite powerful. I’ve listened to this movement many, many times, and it always feels uncomfortable (which is the result of Holst’s employment of harmonic dissonance and irregular metre).

If that wasn’t enough, Holst keeps the cycle going, building up tension and releasing it at least three times in this single movement.

I find it impressive that Holst chose this movement to be the very first movement, because it finalises with such incredible force that it would be apt for an epic finale of the suite.

Specifically, the last seconds of the movement end with a few powerful chords. Try to predict when those chords are coming – I bet you can’t! This gives us a feeling of conflict, of desperation, confusion. So we long for a resolution, which is delivered at the very end:

In a striking coincidence, Mars the bringer of War was composed only two months before the outbreak of World War I.

Venus, the Bringer of Peace

In Astrology, Venus is associated with everything beautiful and romantic, e.g., love, seduction, beauty pleasure, and all sort of positive emotions that allows you to express yourself affectionately towards others.

Placing Venus after Mars is nothing short of peculiar. As mentioned above, Mars, the god of War, is infamous for his impulsive and combative behaviour, always on the lookout for an opportunity to act out his aggressive nature.

In contrast, Venus, the goddess of love advocates peace and harmony.

According to mythology, Venus is Mars’ mistress, and in many artistic works she is seen attempting to appease Mars while he runs amok, inciting violence wherever he goes (check out our article about Guernica where we analyse “Rubens’ painting “The Consequences of War”).

So, perhaps Holst wished to create this contrast in his first two movements of The Planets: a fiery entrance by Mars, followed by the gentle Venus and her attempt to bring calm and peace.

The movement Venus, the Bringer of Peace, begins with a soft melody, brought about by the brass and woodwinds instruments, as well as a harp. It has a sort of hypnotic or dreamlike vibe to it.

As opposed to Mars, the Bringer of War, you mostly feel relaxed and at ease when listening to this movement. Holst hardly induced any tension here, so you are left with a steady trance-like atmosphere, as if you are yourself in an undulating motion. This effect is partly achieved as a result of different instruments playing overlapping patterns (a sort of passing of voices), giving a feeling of oscillation:

The peaceful and soft melodies of Venus are reminiscent of music written for romantic movies (although I discourage you to picture images like that when listening to the Planets, as to not distract yourself from the nuances of the composition).

The movement ends with a very gentle texture, which I think was an ingenious way to finalise Venus, as it evokes tranquility and brings about closure to the apocalyptic movement of Mars:

Mercury, the Winged Messenger

The planet Mercury has the fastest orbit around the Sun – a mere 88 days.

It is, therefore, interesting that Mercury, the Winged Messenger is also not only the shortest movement (around 4 minutes) but also quite quick-paced.

In mythology, Mercury is the god associated with messages and communication. He wore winged sandals which endowed him with the ability to move at great speeds. So the title of this movement, Mercury, the Winged Messenger, is quite fitting.

Astrologers retained this idea of communication but expanded its meaning by incorporating fluid intelligence, how quick and effective people process information and solve problems.

And if there is a movement in The Planets that seems to convey the idea of communication is certainly Mercury. The entire movement appears to flow as a series of questions and answers.

There is a particular melodic phrase that is played 12 times in row, which you would think must get boring to listen to. Cleverly, Holst had the idea of having different instruments play the theme sequentially, as if a message were being passed around the orchestra:

What is more, cross-rythm is very obvious in Mercury. Holst has some instruments play in 6/8, ¾ and 2/4, creating a vibrant rythmic structure, so you never really feel that there is any repetition whatsoever:

In the excerpt above you will also notice that Holst has the orchestra play in different key signatures: some instruments play with flats in their key signature, some with sharps, some with neither. 

It is a mishmash of tonality even for similar musical phrases, which, again, could represent this idea of communication among the instruments (playing similar musical patterns in different tonalities similar to how different languages can express the same meaning).

Jupiter, the Bringer of Jollity

Ahhhh, Jupiter.

This is probably the most famous movement of the composition, and the fame is well deserved.

Relative to the other planets in the solar system, Jupiter is the fastest spinning planet: it performs a full rotation on its axis once every 10 hours or so (compare this to Earth which completes a rotation in 24 h).

This fact that didn’t seem to go unnoticed by Holst, who asked the violins to play a three-note pattern very rapidly at the beginning of the movement. It is as though the strings are prefacing the arrival of gods in a festive event. And what better way to announce this arrival than with the six French horns, violins and cellos:

Later the motif is taken over by the brass, low woodwind and timpani. The way Holst employs the timpani is particularly ingenious. There is no way one timpanist could actually play all the notes alone, so Holst has two timpanists share the music:

Jupiter is quite quirky, light-hearted and with many flavours. The movement is split into different sections with very sharp boundaries between them, so one can immediately tell once a new section commences.

Cleverly, Holst mixes up the cheerful rhythmic patterns and melodic themes from different sections, as if a conjoint celebration was taking place. The name Jollity could not be better suited.

After the initial frolic, we suddenly enter a new section with a completely different time signature (3/4). The Waltz-like playing is a testament to Holst’s passion for folk music. The same recurring pattern is played each time with some slight variations in instrumentation, tempo, and ornamentation (which seems to be something of a theme in pretty much every movement of The Planets):

After a harmonic feast, we enter the section with the most glorious theme of the entire suite. It starts off with some very strange chord progressions and rhythmic ambiguity, confusing the listener about what is about to come:

But suddenly, this soft, gentle, nostalgic melody emerges, that transports us to the English countryside (Thaxted, perhaps?). If you are British this melody will hold a special significance to you, as it is the base melody of the British patriotic hymn “I Vow to Thee, My Country”:

I listen to a lot of classical music, and there are few melodies that have the ability to bring me to tears so regularly. By the way, I’m not British, and only later did I hear the text in connection to the hymn, so my fondness for this melody has nothing to do with patriotism.

I can tell you, however, that it has been shaped by the episode of Bluey. One of my daughters cried during the scene with Holst Jupiter in the background, and now I’m unable to listen to the movement without shedding a tear or two.

But can’t you also feel a certain optimism in this melody? In astrology, Jupiter is characterised by optimism and cheerfulness, as well as the bringer of luck and opportunity. These are all qualities that we can immediately associate with this movement.

What’s interesting is how this melodic line develops; it starts tentatively with horns and strings, with woodwind and trumpet joining shortly after. From here on, more and more instruments join in (including the timpani playing the bass line) until almost the entire orchestra is contributing to this rich and beautiful musical moment:

In the last section, the themes from all the previous sections are played interspersed, tempo increases, tension builds, ostinatos are all around, with the final chords finally announcing the end of the feast:

Saturn, the bringer of Old Age

This was Holst’s personal favourite. It is also the longest movement of the seven: around 9 minutes and 40 seconds.

Saturn couldn’t be further from the cheerfulness of the previous movement. It starts slow, very slow, with very unusual dissonant harmonies, giving it a funeral march vibe. Flutes and harps alternate between two chords, not unlike a ticking clock:

Thus, the first associations that come to mind is that of the passing of time. In fact, with the addition of the double basses, violins and bass oboe playing a slow and ominous theme, the first associations we have is that with death and despair. The initial moments of this piece gives us a sense of disquiet, as if confronted with our own mortality.

The music then slowly starts to build with the addition of the trombones, trumpets, tuba and string instruments to become slightly more encouraging and satisfying, as though we are in a period of personal exploration:

However, at the end of the path we are confronted with our ghosts. And what imposing ghosts! The brass instruments play strong chords with the timpani in between getting louder and louder. The regular pesante playing suggesting heavy paces (likely of monsters or giants), coupled with the occasional errie sounding of the bells, sound as if death itself was approaching:

After the terror of the previous musical theme, we are left with a beautiful texture of harps and double bass. I interpret it as a sort of rebirth; we are reborn from the ashes of our incinerated self:

Gradually, the music turns into a completely different mood. When the violins enter, it is not scary or threatening anymore but rather serene and pleasant. It is almost as though we came to terms to the inevitability of our own mortality. Pay close attention how the bells sound; somehow they don’t sound eerie any longer, but rather festive, as if announcing a rite of passage:

So, I see Saturn as the prototypical plot structure: Problem → Exploration → Confrontation → Rebirth → Resolution

In Astrology, Saturn can be linked with fear, but also with perseverance, duty and accomplishment. It is through the influence of Saturn that we find creative solutions to problems currently affecting our lives; it assists in getting ourselves organised, prioritising sensibly, facing our limitations and confront reality.

So Holst likely took this idea of Saturn being the planet responsible for pushing your limits and fight back your limitations to develop a “plot” for Saturn, the Bringer of Old Age (Old Age here representing the entire stage of a human life).

Uranus, the magician

Uranus is the most unconventional planet in our solar system. Whereas most planets have their spin axes at more or less right angles to their corresponding orbits around the Sun, Uranus is spinning on its side (i.e., its north pole is pointing towards the Sun).

The astronomical oddity of Uranus has been captured by astrologers. In Astrology, Uranus is the planet of technology, inventions and revolution. So it represents the side of you that tries to break away from conventions.

This is interesting because that is exactly what Holst does in Uranus: he breaks conventions. First, he combined some very unconventional brass instruments at the time, such as the tuba tenor and brass oboe. Second, he used a mix of time signatures like 4/4, 6/4 and 9/4, that make the rhythmic feel of the music ambiguous. Third, the movement is full of surprises, with a frenzy dance that is almost delirious.

Also, Uranus has the same peculiarity of most of the previous movements, with recurring patterns played between sections (such as the four-note brass motif), as well as jarring changes in mood.

Uranus begins with a fanfare of brass instruments and timpani, with a rare xylophone making a categorical appearance. It all sounds very chaotic, experimental, with most of the instruments playing short alternating phrases:

The music gradually builds up into the most famous section of this song: the wacky parade. The brass, woodwind, strings and percussion seem to be trying to get the upper hand, while we can just spot the xylophone playing rapid notes in between as if trying to get itself heard in this eccentric merrymaking. It is almost surreal:

And, then, abruptly, the crazy fanfare is replaced by a solemn passage, which doesn’t last long though. The four-note brass motiv returns, and, then, we hear the organ and tuba playing a very loud and intimidating note:

Towards the very end, the movement is left suspended a sort of drifting away into nothingness, a premonition of what is about to come next:

Neptune, the Mystic

Within our solar system, Neptune is the furthest planet from the Sun. It had been discovered in 1846 (so 68 years before Holst began composing The Planets), but very little was known about it.

Perhaps for this reason, Neptune was given the name “The mystic”. Holst probably wanted to convey the idea of the mysterious planet drifting alone in space, never revealing its secrets.

There are numerous musical elements that allude to the mystic nature of the planet.

First, the movement starts with an inquisitive melodic phrase. The bells add to this mysteriousness, as if a communication with the supernatural was materialising.

The juxtaposition of the alto flute and the regular flute (e.g., the very first pattern you hear in the initial seconds of the movement) is so ingenious that it almost sounds like you are entering the twilight zone:

Second, the dissonance and ever-changing time signatures is recurring in this movement.

Third, the combined use of harps, strings and a celeste (a keyboard instrument which is used at the beginning of “Hedwig’s Theme” from the Harry Potter movies) really bring about the eeriness of this piece:

Finally, half-way through the movement you can hear the female voices of the choir gently emerging, only to fade out at the finale, giving us a feeling of continuity happening beyond the music. 

Weirdly, Holst placed the female choir hidden from the audience, so when you listen this piece live, the voices sound as though they appear out of nowhere:

In astrological terms, Neptune is the planet of the occult, intuition, imagination, dreams, spirituality and psychic abilities. It has also been described as the planet of the illusion and deceit. 

More pertinent, Neptune’s influence can also lead to a tendency to drift off course, which could bring about either a disruptive change or an inspiration for positive change. 

And what better way to suggest drifting than the faded out voices in the finale. The question is though: did Holst intend it to represent aimless drifting or constructive drifting?

Conclusion

The Planets is a truly grandiose masterpiece. Holst was a terrific composer, and it’s only ironic that his most successful composition turned out to be the reason for the later downturn in his musical career.

The very first movement is Mars, the Bringer of War, full of power and energy, just as, in astrology, Mars is the planet of aggression and action.

Then comes Venus, the Bringer of Peace, a combination of beautiful, gentle and sweet melodies, as if to calm the terror brought by Mars. Indeed, in astrology, Venus is responsible for all romantic aspects of your life and is linked with positive attributes such as  beauty, pleasure and love. 

Mercury, the Winged Messenger, is next. In Astrology, Mercury is linked to every aspect of communication (social, emotional). This is most faithfully represented by the rapid playing of musical phrases and their circulation across a range of orchestral instruments.

The sweet melodies of Jupiter, the Bringer of Jollity, follows. Full of joy and optimism, it is a worthy hymn for a feast of gods. Indeed, in astrology, it is Jupiter that brings good fortune and good cheer.

After Jupiter comes Saturn, the Bringer of Old Age, a gloomy movement with some imposing and daunting musical passages that seem to presage a calamity. This movement has a clear-cut “plot”, dealing with confrontation and its subsquent resolution. Indeed, in astrology, it is Saturn that forces people to confront reality and find ways to overcome obstacles.

The next movement is Uranus, the Magician. In Astrology, Uranus is the planet of revolution, inventions and eccentricity. These are all qualities found in this movement, which brims with exuberance and avant-garde musicality.

And finally, Neptune, the Mystic. Its deeply dissonant sonority as well as downright bizarre musical patterns seem to express everything cabalistic and mysterious in the universe. Astrologers link this planet to everything connected to the psychic realm as well as to intuition and dreaming. 

You might have also wondered how can a classical music piece ever get a bizarrometer score of 3.5? Really, classical music weird?!?

But even if you set aside the very oddities you find throughout the piece (irregular meter, dissonant chords, etc.), consider the progression of the movements in the suite.

While listening to the Planets, you experience a roller coaster of emotions with aggressive Mars, gentle Venus, brisk Mercury, sanguine Jupiter, funereal Saturn and revolutionary Uranus. And just when you expect Neptune to bring this exuberant display of emotions to a satysting grand finale, akin to most great symphonies, what does Holst decide to do? Exactly the opposite of what you expect! He terminates the suite with faded out voices! Really?!? Faded out voices?!? For a finale?!?

Surely, you agree it’s hard to get weirder classical music than that!

Final thoughts

The Planets is truly a remarkable orchestral work. Even if you aren’t an avid classical music fan, you should really try to take an hour of your time and immerse yourself in this suite.

Despite its huge popularity, somehow, The Planets endures almost as an incognito piece.

You see, most people wouldn’t hesitate attributing “Für Elise” to Beethoven, “Turkish March” to Mozart, “Herrn der Ringe” to Wagner. But, outside classical music circles, the association between the composer Holst and the composition The Planets is nowhere nearly as entrenched.

Holst popularity after publishing The Planets vanished as swiftly as it had appeared. Despite several productive years, his subsequent musical output kept being inevitably compared with the Planets, and the public was never as receptive to Holst’s other works as they had been with The Planets.

I guess I now understand and relate to Holst’s dismay at the success The Planets had achieved… Don’t you?

 

See you in the next article!

Books

Orion, Rae. Astrology For Dummies.

Youtube

About Holst’s music:

Inside the Score

Classics Explained

Listening In

Philharmonia Orchestra (check the Listening Guide; Holst’s The Planets videos)

Zach Heyde

This post is part of a larger deep dive

Curious about the role of the Planets in astrology in The Planets?

Read the full The Planets article!

Leave a comment

Recommendations:

Add Your Recommendations

Popular Tags

2 comments

↓

  1. Thank you for writing such an in depth analysis of the planets and including some basic info about astrology which I knew nothing about. I really enjoyed reading it and found it very informative. Read it whilst listening to the music.

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.