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THE PLANETS MARS, THE BRINGER OF WAR VENUS, THE BRINGER OF PEACE COMPOSED BY GUSTAV HOLST

GUSTAV HOLST •

Parents: Adolph and Clara von Holst

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Birthdate: September 21, 1874

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Birthplace: Cheltenham, England

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Mother died when he was only 8 years old

CHILDHOOD MISFORTUNE

Weak and miserable • Weak eyes that required spectacles

• Asthma that caused him to need to rest while climbing stairs

INSTRUMENTAL ABILITIES • • • •

Violin Piano Organ Trombone

EARLY MUSICAL LIFE •

Early jobs: •

Organist, 1893

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Organist and Choirmaster at Bourton-on-the-Water •

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Royal College of Music •

Studied composition with Charles Stanford •

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These led to an increase in his knowledge of the choral world

Influenced to become his own critic

Some early influences •

Arthur Sullivan

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Richard Wagner

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Johann Sebastien Bach •

Mass in B Minor in particular

YOUNG GUSTAV • Frugal • Never smoked or drank • Strict vegetarian after leaving home •

Difficult due to cheap lodgings

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Weak eyes and neuritis worsened

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Took up the trombone at this point and made money participating in orchestras

• Shy and solitary • Interested in people • Disliked conventionality • Enjoyed fantastic ideas and a good laugh

SOCIABILITY AND COMPOSING •

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Ralph Vaughan Williams •

Fellow composer

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Lifelong friend

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Discussed poetry and socialist works together

Hammersmith Socialist Club •

Hammersmith Socialist Choir •

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Trombonist in theater orchestras •

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Isobel Harrison, soprano

Gained an invaluable ear that later helped him to imagine exactly how his compositions sounded from the middle of the orchestra

Eastern Religion Influences •

Sanskrit Literature

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Hindu Philosophy

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Learned Sanskrit for himself

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Composed an opera, Sita

Marriage •

Isobel Harrison,

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1901

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First home in Shepherds Bush

JOB POSITIONS • Gave up the trombone to focus on composing •

Difficulty in being published

• Singing Teacher at James Allen School • Director of Music at St. Paul’s Girls School • Musical Director at the Morley College for Working Men and Women •

Holst’s demands drove away many students

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These students were replaced by enthusiastic ones that turned his classes into successes

DEPRESSION AND ASTROLOGY

• Gustav felt continuously overworked and depressed •

Took a holiday to Algeria

• Another failed Sanskrit performance sent a depressed Gustav to Spain •

Friends there encouraged his interest in astrology, his “pet vice”

• Started work on The Planets

THE GREAT WAR

• Declared unfit for service • Depressed •

Friends and family members, even Isobel, were able to serve

• Given a chance to be of service •

Offered the post of Musical Organizer by the YMCA

POST-WAR Major popular successes The Planets The Hymn of Jesus

1923 Depressed and overworked Fell back on his head during rehearsal Concussion Took some years for him to fully recover from its effects on him

LOSING TOUCH • Traveled to America for some performances of his works

• In England, he was losing touch with his audience • Stress and insomnia •

Verge of a nervous breakdown

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Anonymous donor gave him money to relax and be more at ease with his composing

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3 months of doing nothing were not good for him •

Nerves worsened

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Head injury gave him trouble

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Could only continue to do a little bit of teaching at St. Paul’s and a few other lectures

THE END • Smaller scale compositions • 13th and final opera was written in 1930 •

The Tale of the Wandering Scholar

• Traveled to America to lecture •

Ulcer caused hemorrhaging in his stomach and sent him home

• Got back to teaching and composing • 1933: Agreed to a surgery that would give him more freedom if it was successful •

It was successful, but his heart couldn’t handle the strain

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Died a couple days later on May 25th, 1934 at age 59

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Ashes were buried at Chichester Cathedral

EPILOGUE

• The Planets remained his most popular work • His daughter and other enthusiasts helped many of his compositions to see the light and receive deserved adoration • Success and failure were mere trifles

• Ended on a good note as his warmth and spontaneity in composing were returning

COMPOSITION HISTORY

• The Planets Opus 32 •

Composed 1914-1916

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Interest in astrology that was encouraged by Clifford Bax

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This interest was also fed by reading the book “The Art of Synthesis” by Alan Leo •

May have been the inspiration for the construction of the musical suite

“A PROGRESSION OF LIFE” • Mars •

rockiness and confusion

• Venus •

peace and answers to the turmoil life brings

• Other Movements •

Maturity

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Old age

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Connection to deity

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Etc.

IN TOUCH WITH INFLUENCE • Arnold Schoenberg •

Five Orchestral Pieces Op. 18

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The Planets were called Seven Orchestral Pieces early in the compositional stages

• Igor Stravinsky •

Le sacre du printemps

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Dissonance and different meter

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Mars is in a 5/4 meter and uses a lot of dissonance

• Claude Debussy •

Piano works

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Neptune shows much of this influence

POPULARITY • First performed in a private concert in 1918 •

Conducted by Adrian Boult

• First complete performance: 1920 •

Conducted by Albert Coates

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Performed in Queen’s Hall

• Holst hated its popularity •

Refused to sign autographs

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Swore off his belief in astrology

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Brought him the least joy out of his many compositions

MARS, THE BRINGER OF WAR HIGHLIGHTS FROM THE LISTENING GUIDE

KEY POINTS

• “Mars” is in a 5/4 meter, showing some of Stravinsky’s influence on using unconventional compositional styles

• Almost the entire movement is in a minor mode • There is often a percussive, march-like rhythm representing elements of a war • The power in the low brass adds an ominous feeling throughout, another reminder of war

LISTENING GUIDE HIGHLIGHTS • 0:08- This is the intro to the piece. It is very brief, but it sets the feeling of war that carries throughout the movement. The percussion starts it all with a steady march rhythm. • 0:11- The percussion rhythm continues in the background as the low brass enters with the darker melody and slowly crescendos for the interval of a 5th. The mood is very serious and is accentuated by the darker tones of the low brass melody.

• 0:15- Here, the low brass reaches the peak of a crescendo as they move down a half step. This also helps in setting the minor tone for the piece. A diminuendo then begins before the same melodic pattern is repeated. • 0:37- The original melody begins again, but this time on a higher note. This change in the pitch helps to set an even more ominous tone as the interval also seems to be a bit more minor. A similar crescendo/diminuendo pattern is used.

• 0:57- A larger statement is made here as the strings use an accented fortissimo entrance for a bold effect as they repeat the descending interval four times. • 1:08- The trumpets enter with short eighth notes, almost as if calling soldiers to arms. The flutes and piccolos also play shorter notes. This is the first time in the piece that the woodwinds have been audible. A cymbal roll at the end of the phrase helps to bring the crescendo to its peak. • 1:18- At the end of the crescendo, a high point is introduced in the movement. • 1:23- The low brass takes the melody. The pattern for this melody is like an inverted arch and an arch put together as a two-note pattern moves up and down. In the background, the strings continue the marcato rhythm. • 1:43- At this point, the strings continue to feature as they now take the slowly descending melody line that the trumpets just had a few measures ago. • 1:50- The marcato rhythm ends for now as the strings continue the arching pattern. • 2:09- Now, the French horn plays a simple ascending solo with the trumpets playing a small motif at the end. • 2:21- The higher strings take over the melody of the horn solo. • 2:30- It almost seems to have changed keys because the feeling is now major rather than minor. The bass drum is also briefly noticeable as it plays simple rhythms to add to the sound.

• 2:38- The volume drops back down as the minor feel returns with the brass. The change in dynamics makes it seem less ominous than before. That is also being helped by the imitation between the trombones and the trumpets as they continue with the same melody. • 3:04- The arching pattern from before returns in the low woodwinds and strings. These lower voices, however, exercise more freedom with the range of the notes than the higher strings and woodwinds did when they last had this line. • 3:33- The melody now seems to be flowing a little differently. In this section, the snare drum starts a quiet roll in the background that crescendos with the winds and strings. • 3:55- The original marcato rhythm returns. Here, the winds and strings play with a more loud and bold sound.

• 4:01- Now the original melody from the beginning of the piece returns in the low brass. This time, however, the timbre is brassier, possibly emphasizing a more escalated part of the war. The trumpet and percussion are also particularly audible on the marcato rhythm playing beside the main melody line. • 4:38- The minor mood returns as the strings once again play repeated small, descending intervals. The low brass play a different melody that was heard earlier in the piece. Afterwards, the low brass and trumpet imitation returns from before. • 4:55- The gliding string part returns with the marcato rhythm lowering its dynamic level in the background.

• 5:10- A four-note string pattern from before begins again. The two note arching pattern from earlier in the piece returns in the low brass and horns. • 5:23- The marcato rhythm stops while the strings and woodwinds continue on their melody line. The tempo seems to pick up as the long tones and the spaces between the repeating motifs get smaller. • 5:39- At this point, the entire orchestra joins together on a loud long tone. As they move down to their second note, the percussion drops out. The third note sees the removal of the brass section. The strings and woodwinds then repeat the motif, followed by the brass and lower strings repeating the motif. Throughout these repetitions, the orchestra decrescendos. A long tone from some of the brass and lower woodwinds then sounds. • 5:59- The strings and woodwinds start to play quickly moving lines and crescendo as well as accelerate as they ascend. • 6:07- The loud brass and drums now repeat the same note in small sections of either two, three, or four repetitions of the note. These appear to be the final strikes in the war. As they continue, they get slower and farther apart, further emphasizing the end. • 6:20- The low brass now play their final long tone as a bass drum rolls to end the war and finish the piece.

VENUS, THE BRINGER OF PEACE HIGHLIGHTS FROM THE LISTENING GUIDE

KEY POINTS

• “Venus” is in two different meters: 4/4 and ¾ •

There are many parts in the music that emphasize the triple-simple meter

• The piece is calm and quiet, much like peace would be after a war • The French horn, some of the strings, and some of the higher woodwinds are featured with solo moments

LISTENING GUIDE HIGHLIGHTS • 0:00- The piece begins with an ascending French horn solo. It is rather quiet, just like after a fierce war is finally over. • 0:08- The French horn plays another ascending line as the woodwinds join in on descending line for a countermelody. This phrase ends on minor note. The contrast between the ascending and descending lines creates a richer texture that almost seems to emphasize a feeling of loss from before the time of peace. • 0:31- Here, the low strings enter quietly and play an ascending note pattern. The higher strings and flutes switch between two notes, setting a smooth and steady tempo with a simple meter. • 0:37- The oboe now plays a descending line while the lilting rhythm continues in the background.

• 0:43- The woodwinds and strings imitate the descending line that the oboe just played. • 0:55- A long tone in the woodwinds is followed by small ascending flute line. • 1:00- Another long tone in the high woodwinds decrescendos and creates a small break in this part of the movement.

• 1:03- The French horn solos once again. • 1:10- The horn solos again with the woodwinds playing their descending line to add some contrast. This time is different than the beginning because the note at the end is turned into a few different notes that keep a more pleasant feel going in the piece.

• 1:32- The entire string section, as well as many of the woodwinds, join together on a major chord. • 1:36- A violin rises up out of the orchestra to solo, playing a melody that follows an inverted arch pattern. • 1:46- Now all of the violins join together to play the melody from the solo. • 1:57- The strings now switch back and forth between two notes, taking two counts for the higher one before descending for one count to a lower note. This section really emphasizes the triple simple meter. • 2:11- The oboe/English horn imitates the string section as it solos using the same note pattern. • 2:20- The strings now take over the melody. • 2:31- The orchestra joins together here on a long tone and then implements a decrescendo. • 2:35- The violin emerges from the orchestra’s decrescendo to for its solo. Through this, the back and forth motif from before is imitated. • 2:56- The oboe now enjoys a solo moment. • 3:05- Now the clarinet takes a solo that generally descends.

• 3:10- Here, the strings play a simple ascending melody to lead into the next solo. • 3:14- The oboe again plays an arching solo, ending with a half step interval that sets minor feel for this moment. • 3:29- At this point, a high point has been reached for the strings as they imitate the arching melody. • 3:34- Here, the strings decrescendo back down to lead into the solo. • 3:37- The cello now solos on an arch melody, ending on a minor note. • 3:50- As the music continues, more voices are added, causing there to be a small crescendo. A ritardando is also employed. • 4:08- The horn emerges as it plays its ascending solo once again. • 4:14- Before the horn has a chance to repeat its solo melody as has often happened, the flute takes over the solo.

• 4:24- The cello enjoys another solo with small ascending. • 4:34- The violins now playing various arching melodies, including inverted arches. • 4:44- The same musical ideas continue through here. There is also a brief switch to a minor feel for a few beats.

• 4:56- The horns enter with a swell on their first note and then descend.

• 5:01- The cello solo here plays the quiet back and forth notes that emphasize the triple meter. • 5:27- Through here, the English horn leads some of the strings and woodwinds in the back and forth notes. Meanwhile, other strings and woodwinds are playing small ascending arpeggios at a very low pianissimo dynamic level. • 6:01- Here, the flutes and oboes play a small descending line four times while the French horn plays a small ascending line against it. • 6:15- At this point, the string long tone is much more pronounced. • 6:19- Now the back and forth notes become the melody as they are played by the oboes and the French horns. Behind them are small ascending lines played by the clarinets and flutes. • 6:25- The violins, harp, and flutes now take over the back and forth melody, although the violins are the most audible of the group. There is a small, almost tinkling part that seems to be played on a xylophone. • 6:38- At the very end, the strings decrescendo their final notes to finish the piece.

BIBLIOGRAPHY •

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“A Biography of Gustav Holst” by Ian Lace •

“The Early Years”: http://www.gustavholst.info/biography/index.php?chapter=1

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“Falling in Love”: http://www.gustavholst.info/biography/index.php?chapter=2

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“A Gifted Teacher”: www.gustavholst.info/biography/index.php?chapter=3

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“Planetary Fame”: http://www.gustavholst.info/biography/index.php?chapter=4

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“Musical Esotericism”: http://www.gustavholst.info/biography/index.php?chapter=5

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“Journey’s End”: http://www.gustavholst.info/biography/index.php?chapter=6

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“Epilogue”: http://www.gustavholst.info/biography/index.php?chapter=7

“The Music of Gustav Holst,” Kenric Taylor, copyright 1996-2007 •

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http://www.gustavholst.info/compositions/listing.php?work=18

The Planets, Opus 32– I. Mars, the Bringer of War and The Planets, Opus 32– II. Venus, the Bringer of Peace •

Rhapsody Music Player, Vladimir Jurowski; Album Released: October, 2010; Label: LPO

MULTIMEDIA BIBLIOGRAPHY: COMPOSER BIOGRAPHY •

Arthur Sullivan: http://www.classicalarchives.com/images/cpic/pic200/drz000/z062/z0628231 ein.jpg

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Richard Wagner: http://web.media.mit.edu/~mike/music/hawley-farbood-62000/i/wagner.jpg

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Isobel and Gustav: http://www.gustavholst.info/img/biography/in_berlin.jpg

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Organ: http://upload.wikimedia.org/wikipedia/commons/3/3b/OrgueSaintThomasStra sbourg.jpg

Directing Music: http://ntho.nl/wp-content/uploads/2013/11/directeurendirigeren.jpg

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Trombone: http://www.jimlaabsmusic.com/images/uploads/band/trombone/schiller/supe r-547/super-547-trombone2.jpg

Roman Astrology Chart: http://upload.wikimedia.org/wikipedia/commons/thumb/1/12/Venice_ast_sm. jpg/270px-Venice_ast_sm.jpg

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YMCA: http://4.bp.blogspot.com/TAuoabUtsco/TVYPXmC4UZI/AAAAAAAAIfs/aKrzSq1BOqk/s1600/YMCA.jpg

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The Planets: http://ukeofcarl.com/wp-content/uploads/2011/05/holst_250ukulele.jpg

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Grave: http://farm1.static.flickr.com/200/513671745_6455efb50c.jpg

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Gustav Holst: http://www.bach-cantatas.com/Pic-Lib-BIG/Holst-Gustav-02.jpg

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Spectacles: http://jkhgroup.com/elpOldFashionedGDCLS65301close.jpg

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Gustav Playing the Violin: http://www.gustavholst.info/biography/index.php?chapter=1

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Piano Keys: http://www.musiquity.me/wpcontent/uploads/2013/08/SMusicPianoAntiqueshutterstock_-1920.jpg

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Johann Sebastian Bach: http://upload.wikimedia.org/wikipedia/commons/6/6a/Johann_Sebastian_Bac h.jpg

MULTIMEDIA BIBLIOGRAPHY: COMPOSITION HISTORY

• Progression of Life: http://images.flatworldknowledge.com/zimmerman/zimmerman-fig01_007.jpg • Planets: http://www.fromquarkstoquasars.com/wp-content/uploads/2014/01/Our-Solar-SystemMontage1.jpg