Gustav Holst – The Planets, Op. 32.
The “Planets” suite, written by the English composer Gustav Holst, attracts the attention of musicologists as one of the most striking and conceptually original works of classical music. Consisting of seven parts, this massive composition refers to the names of the solar system’s planets, not in sci-fi but in a mythological way. Holst’s passion for astrology and Roman mythology was expressed in a noble work, where each composition-planet is given special musical, arranging and emotional characteristics. It is not the aim of the study to cover all parts of the suite – special attention will be paid to the first two compositions.
“Mars, the bringer of war” is a work that gives the listener a strong, almost shocking charge of energy inherent in this music. The work is initially quite menacing in its rhythm, based on a repetitive rhythmic pattern similar to the beat of a marching drum. This rhythmic element is not only the most recognizable fragment of the composition, in essence, a leitmotif, but it also creates an atmosphere of preparation for a military battle. The work successfully recreates the feeling of open space on a grandiose, cosmic scale. The battle unfolding in this composition is truly grandiose, which is emphasized by the massive orchestral ensemble.
Particular emphasis in the arrangement of the work is given to metal wind instruments. The low and roaring sounds of the tuba and horn, combined into descending, unresolved, disturbing melodies, convey a sense of real menace to the listener. The composition is periodically interrupted by short pauses – within the framework of the composition, they are tantamount to swinging a weapon before a deadly attack. In the moments when the orchestra sounds in full force, “Mars” creates a grandiose and even deafening impression – it is no coincidence that this composition is dedicated to the Roman god of war. The very environment in which the performance takes place also creates a heavy and grandiose atmosphere – to reinforce it, the light music on the ceiling of the concert hall is painted crimson red. The composition seeks to create a sense of presence on the battlefield, to convey the power and awe of the destructive power of war.
It is precise because of the crushing power of the composition that opens the suite that “Venus, the bringer of peace,” is performed after it. Beginning with running woodwind melodies, “Venus” presents a sharp contrast to “Mars” by its choice of arrangement. Metal wings are used by Holst to demonstrate strength and power, while flutes symbolize lightness and harmony, a connection with nature. The harmonies played on the flutes are quite rich – four or five woodwinds are used to build a melodic interaction. Holst also reincorporates the sound of the French horn, but while in “Mars,” it sounded like a call to battle, in this case, it is an expression of pastoral peace. The use of violin instruments takes place in a higher register than in “Mars”, and is more melodically oriented.
The composition is a search for harmony in a rarefied musical space – the dynamics of “Venus” is very moderate. This part of the suite spends a lot of time carefully trying harmonic combinations, only occasionally gathering into a full-fledged orchestral sound. Thoughtful lyrical melodies in this composition are combined with unisonal amplification of sound due to the introduction of wind instruments, which provide a driving emotional impression on the listener. This segment ends with a ringing section performed on the celesta, elevating the listener with the delicacy and lightness of its sound.
Analysis of Holst’s “Planets,” even at the level of the two opening sections of the suite, demonstrates its diversity and artistic originality. While “Mars” expresses aggression and power, “Venus” provides a search for harmony after the destruction that has occurred. These compositions have an extremely deep emotional and symbolic message, embodying not only different moods but also the whole grandiose mythological concepts behind them.