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The Planets
Gustav Holst

Gustav Holst was born in Cheltenham, England on September 21, 1874, and died in London on May 25, 1934. He was an Englishman descended from Latvian, Russian, and German ancestry who belongs, along with Edward Elgar and Ralph Vaughan Williams and others, to that significant group of composers who comprised the first generation of the early-20th-century “Renaissance” of native British music. Holst’s compositions include opera, sacred choral music, as well as works for band and orchestra. The Planets, an orchestral suite composed between 1914 and 1916 remains his best-known composition. Its first public performance took place on November 15, 1920 at Queen's Hall, with Albert Coates conducting the London Symphony Orchestra. The work is scored for a large orchestra comprising 4 flutes (including piccolo and alto flute), 4 oboes (including bass oboe and English horn), 4 clarinets (including bass clarinet), 4 bassoons (including contrabassoon), 6 horns, 4 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion, 2 harps, celesta, organ, strings, and hidden female chorus.


While Gustav Holst may be counted among the English nationalist composers of the early 20th century, his best music has transcended political and cultural boundaries. The Planets, a suite for large orchestra composed between 1914 and 1916 is his most frequently performed work, movements of which (especially “Mars”) having made inroads into popular culture. The work’s popularity came as a surprise to Holst, who did not consider The Planets to be his best effort. Its seven movements portray the mythological/astrological, rather than astronomical, properties ascribed to each planet. Neither the Earth nor Pluto are included. Given the recent demotion of Pluto, which had not yet been discovered when Holst wrote the work, all the planets are accounted for.


The musical styles found within the work reflect several influences, including Stravinsky, Debussy, Berlioz and Wagner, as well as Holst’s British contemporaries. Nevertheless, The Planets rarely sounds derivative or eclectic to most ears. Its magnificent orchestration alone gives the work an original and distinctive quality which in turn has served as an inspiration for subsequent composers, including John Williams and other creators of film scores.


I. Mars, the Bringer of War. This is the suite’s most frequently performed movement. Its driving rhythmic pattern in 5/4 meter will be instantly recognized by many listeners. Given the year in which “Mars” was composed, it is difficult to separate this brutal and exciting piece from the impending international catastrophe of the First World War.


II. Venus, the Bringer of Peace. This serene movement offers effective relief from the tumult of “Mars.” It begins with a rising four-note figure in the horn, balanced by the descending flutes in parallel harmonies. Solo and tutti violins sing lyrically of this placid world.


III. Mercury, the Winged Messenger. Holst is at his most characteristic in this scherzando movement, which plays on its bitonal leanings toward B-flat Major and E major, as well as the metrical tug of war between 6/8 and ¾ meter.


IV. Jupiter, the Bringer of Jollity. The tempo indication, Allegro giocoso, points to the essential good humor associated with this giant planet. A folk-like strain is introduced by the horns and strings. A nostalgic central theme was later used by Holst to create a setting of Cecil Spring-Rice’s patriotic hymn, “I vow to thee, my country.”


V. Saturn, the Bringer of Old Age. Ethereal flutes and harps in syncopated rhythm precede a melancholy theme in the basses. Later, a “chorale” is introduced by the trombones over an ostinato.


VI. Uranus, the Magician. The first trick up this fumbling magician’s sleeve is to turn its rather ominous four-note introductory figure into a playful scherzo. Holst accomplishes this by speeding up the note values of the figure. The bassoons play their archetypical comic role throughout this movement.


VII. Neptune, the Mystic. Holst requires the orchestra to sustain an extremely soft dynamic level throughout this final movement (Vaughan Williams borrowed this idea in the finale of his Sixth Symphony). Only two distinct themes may be discerned, with the remainder given over to wonderful effects of orchestral color. Rapid scales and arpeggios produce an eerily icy scenario for our ears. Much of the chilling effect derives from the eventual introduction of an invisible six-voice female choir that sings no words. The repeated oscillations between two mysterious chords reach into the deepest regions of sonic space, fading into the infinity of silence.



Notes by David B. Levy, © 2007/2022/2026

The Planets
Gustav Holst

Gustav Holst was born in Cheltenham, England on September 21, 1874, and died in London on May 25, 1934. He was an Englishman descended from Latvian, Russian, and German ancestry who belongs, along with Edward Elgar and Ralph Vaughan Williams and others, to that significant group of composers who comprised the first generation of the early-20th-century “Renaissance” of native British music. Holst’s compositions include opera, sacred choral music, as well as works for band and orchestra. The Planets, an orchestral suite composed between 1914 and 1916 remains his best-known composition. Its first public performance took place on November 15, 1920 at Queen's Hall, with Albert Coates conducting the London Symphony Orchestra. The work is scored for a large orchestra comprising 4 flutes (including piccolo and alto flute), 4 oboes (including bass oboe and English horn), 4 clarinets (including bass clarinet), 4 bassoons (including contrabassoon), 6 horns, 4 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion, 2 harps, celesta, organ, strings, and hidden female chorus.


While Gustav Holst may be counted among the English nationalist composers of the early 20th century, his best music has transcended political and cultural boundaries. The Planets, a suite for large orchestra composed between 1914 and 1916 is his most frequently performed work, movements of which (especially “Mars”) having made inroads into popular culture. The work’s popularity came as a surprise to Holst, who did not consider The Planets to be his best effort. Its seven movements portray the mythological/astrological, rather than astronomical, properties ascribed to each planet. Neither the Earth nor Pluto are included. Given the recent demotion of Pluto, which had not yet been discovered when Holst wrote the work, all the planets are accounted for.


The musical styles found within the work reflect several influences, including Stravinsky, Debussy, Berlioz and Wagner, as well as Holst’s British contemporaries. Nevertheless, The Planets rarely sounds derivative or eclectic to most ears. Its magnificent orchestration alone gives the work an original and distinctive quality which in turn has served as an inspiration for subsequent composers, including John Williams and other creators of film scores.


I. Mars, the Bringer of War. This is the suite’s most frequently performed movement. Its driving rhythmic pattern in 5/4 meter will be instantly recognized by many listeners. Given the year in which “Mars” was composed, it is difficult to separate this brutal and exciting piece from the impending international catastrophe of the First World War.


II. Venus, the Bringer of Peace. This serene movement offers effective relief from the tumult of “Mars.” It begins with a rising four-note figure in the horn, balanced by the descending flutes in parallel harmonies. Solo and tutti violins sing lyrically of this placid world.


III. Mercury, the Winged Messenger. Holst is at his most characteristic in this scherzando movement, which plays on its bitonal leanings toward B-flat Major and E major, as well as the metrical tug of war between 6/8 and ¾ meter.


IV. Jupiter, the Bringer of Jollity. The tempo indication, Allegro giocoso, points to the essential good humor associated with this giant planet. A folk-like strain is introduced by the horns and strings. A nostalgic central theme was later used by Holst to create a setting of Cecil Spring-Rice’s patriotic hymn, “I vow to thee, my country.”


V. Saturn, the Bringer of Old Age. Ethereal flutes and harps in syncopated rhythm precede a melancholy theme in the basses. Later, a “chorale” is introduced by the trombones over an ostinato.


VI. Uranus, the Magician. The first trick up this fumbling magician’s sleeve is to turn its rather ominous four-note introductory figure into a playful scherzo. Holst accomplishes this by speeding up the note values of the figure. The bassoons play their archetypical comic role throughout this movement.


VII. Neptune, the Mystic. Holst requires the orchestra to sustain an extremely soft dynamic level throughout this final movement (Vaughan Williams borrowed this idea in the finale of his Sixth Symphony). Only two distinct themes may be discerned, with the remainder given over to wonderful effects of orchestral color. Rapid scales and arpeggios produce an eerily icy scenario for our ears. Much of the chilling effect derives from the eventual introduction of an invisible six-voice female choir that sings no words. The repeated oscillations between two mysterious chords reach into the deepest regions of sonic space, fading into the infinity of silence.



Notes by David B. Levy, © 2007/2022/2026