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The Planets - Wikipedia. The Planets, Op. 3. Watch Sabrina Torent Free more.

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English composer Gustav Holst, written between 1. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. From its premiere to the present day, the suite has been enduringly popular, influential, widely performed and frequently recorded. The work was not heard in a complete public performance, however, until some years after it was completed.

Although there were four performances between September 1. October 1. 92. 0, they were all either private (the first performance, in London) or incomplete (two others in London and one in Birmingham). The premiere was at the Queen's Hall on 2. September 1. 91. 8, conducted by Holst's friend Adrian Boult before an invited audience of about 2. The first complete public performance was finally given in London by Albert Coates conducting the London Symphony Orchestra on 1. November 1. 92. 0.[2]Background[edit].

The Queen's Hall, in London, where The Planets premiered in 1. The concept of the work is astrological[3] rather than astronomical (which is why Earth is not included): each movement is intended to convey ideas and emotions associated with the influence of the planets on the psyche, not the Roman deities. The idea of the work was suggested to Holst by Clifford Bax, who introduced him to astrology when the two were part of a small group of English artists holidaying in Majorca in the spring of 1. Watch Self Helpless HIGH Quality Definitons.

Holst became quite a devotee of the subject, and would cast his friends' horoscopes for fun.[3][4] Holst also used Alan Leo's[3] book What is a Horoscope? The Bringer of..") for the movements. On 1. 7 January 1. Holst attended a performance of Arnold Schoenberg's Five Pieces for Orchestra, at the Queen's Hall, conducted by Schoenberg's pupil Edward Clark.[5][6][7] Holst quickly acquired a copy of the score, the only Schoenberg score he ever owned. This influenced Holst at least to the degree that the working title of his own composition was Seven Pieces for Large Orchestra.[8]When composing The Planets Holst initially scored the work for four hands, two pianos, except for Neptune, which was scored for a single organ, as Holst believed that the sound of the piano was too percussive for a world as mysterious and distant as Neptune.

Holst then scored the suite for a large orchestra, in which form it became enormously popular. Holst's use of orchestration was very imaginative and colourful, showing the influence of such contemporary composers as Igor Stravinsky[9] and Arnold Schoenberg,[3] as well as such late Russian romantics as Nikolai Rimsky- Korsakov and Alexander Glazunov. Its novel sonorities helped make the work an immediate success with audiences at home and abroad. Although The Planets remains Holst's most popular work, the composer himself did not count it among his best creations and later in life complained that its popularity had completely surpassed his other works.

He was, however, partial to his own favourite movement, Saturn.[1. Premieres[edit]Just before the Armistice, Gustav Holst burst into my office: "Adrian, the YMCA are sending me to Salonika quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets, and you've got to conduct."“”Adrian Boult[1. Watch Resolved Online Hollywoodreporter on this page. The orchestral premiere of The Planets suite, conducted at Holst's request by Adrian Boult, was held at short notice on 2. September 1. 91. 8, during the last weeks of World War I, in the Queen's Hall with the financial support of Holst's friend and fellow composer H. Balfour Gardiner.

It was hastily rehearsed; the musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for Neptune was recruited from pupils from St Paul's Girls' School (where Holst taught). It was a comparatively intimate affair, attended by around 2. Holst regarded it as the public premiere, inscribing Boult's copy of the score, "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."[1. Holst's inscription on Boult's score. A public concert was given in London under the auspices of the Royal Philharmonic Society on 2. February 1. 91. 9, conducted by Boult.

Five of the seven movements were played in the order Mars, Mercury, Saturn, Uranus, and Jupiter.[1. It was Boult's decision not to play all seven movements at this concert. He felt that when the public were being given a totally new language like that, "half an hour of it was as much as they could take in".[1.

The anonymous critic in Hazell's Annual called it "an extraordinarily complex and clever suite".[1. At a Queen's Hall symphony concert on 2. November of that year, Holst conducted Venus, Mercury and Jupiter (this was the first public performance of Venus).[1. There was another incomplete public performance, in Birmingham, on 1. October 1. 92. 0, with five movements (Mars, Venus, Mercury, Saturn and Jupiter). It is not clear whether this performance was conducted by Appleby Matthews[1. His daughter Imogen recalled, "He hated incomplete performances of The Planets, though on several occasions he had to agree to conduct three or four movements at Queen's Hall concerts.

He particularly disliked having to finish with Jupiter, to make a 'happy ending', for, as he himself said, 'in the real world the end is not happy at all'".[2. The first complete performance of the suite at a public concert did not occur until 1. November 1. 92. 0; the London Symphony Orchestra (LSO) was conducted by Albert Coates. This was the first time the movement Neptune had been heard in a public performance, all the other movements having been given earlier public airings.[2]The composer conducted a complete performance for the first time on 1. October 1. 92. 3, with the Queen's Hall Orchestra at a Promenade Concert. Holst conducted the LSO in two recorded performances of The Planets: the first was an acoustic recording made in sessions between 1.

Pavilion Records' Pearl label); the second was made in 1. IMP and later on Naxos outside the United States).[2. Because of the time constraints of the 7. Instrumentation[edit]The work is scored for a large orchestra consisting of four flutes (third doubling first piccolo and fourth doubling second piccolo and "bass flute in G", actually an alto flute),[2. English horn, three clarinets in B♭ and A, one bass clarinet in B♭, three bassoons, one contrabassoon; six horns in F, four trumpets in C, two trombones, one bass trombone, one tenor tuba in B♭ (actually a euphonium scored for treble clef), one bass tuba; a percussion section with six timpani (requiring two players), bass drum, snare drum, cymbals, triangle, tam- tam, tambourine, glockenspiel, xylophone, tubular bells; celesta, pipe organ; 2 harps and strings. In Neptune, two three- part women's choruses (each comprising two sopranos and one alto) located in an adjoining room which is to be screened from the audience are added. Structure[edit]Problems playing these files?

See media help. The suite has seven movements, each named after a planet and its corresponding astrological character (see Planets in astrology): Mars, the Bringer of War (1. Venus, the Bringer of Peace (1. Mercury, the Winged Messenger (1. Jupiter, the Bringer of Jollity (1. Saturn, the Bringer of Old Age (1. Uranus, the Magician (1.

Neptune, the Mystic (1. Holst's original title, as seen on the handwritten full score, was "Seven Pieces for Large Orchestra".[2. Holst almost certainly attended an early performance of Schoenberg's Five Pieces for Orchestra in 1. Mars, Venus and Jupiter),[n 1] and owned a score of it,[2. Schoenberg score he ever owned.[2.

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