A long time ago, in a galaxy not so far away, Gustav Holst (1874-1934) defined the sonic final frontier with The Planets. Holst visited Majorca in 1913 where friends introduced him to astrology which became a lifelong interest. Central to astrological thought is the power of divination, forecasting, and fateful determination via the character and placement of the planets, following the maxim “as above, so below.” Rather than portraying the planets as physical objects in space, he focused on the emotional qualities traditionally associated with each one. Holst described the movements as “mood pictures,” using music to explore inner states such as conflict, peace, joy, aging, and mystery. Composed during World War I, the suite grows out of a moment of deep instability, when Holst was grappling with a rapidly changing world and searching for a musical language that could express inner states rather than external events. A century later, Holst’s “mood pictures” still feel uncannily relevant. In an era when many people are once again turning to astrology not as fortune-telling, but as a language for reflection and self-understanding, The Planets invites us to listen inward. Each movement becomes less a cosmic portrait and more a mirror for emotional states we all recognize: anxiety, hope, restlessness, joy, grief, and wonder.

 

I. Mars, the Bringer of War 

The music of Mars has been called "the most ferocious piece of music in existence.” Right away, Holst uses bold techniques to help us visualize the menace of the current warfare, such as the strings playing col legno (wood side of the bow tapping the strings). Harsh brass, pounding percussion, and grinding harmonies create an atmosphere of tension and menace in an irregular five-beat meter. Written as Europe stood on the brink of World War I, the movement eerily anticipates the devastation to come. 

 

II. Venus, the Bringer of Peace

In profound contrast, Venus offers music of healing and repose. Gentle solo lines create a sense of stillness and compassion. Time seems to slow as the music breathes and unfolds. After the brutality of Mars, Venus offers a vision of peace as something tender, delicate, and hard-won.

 

III. Mercury, the Winged Messenger 

Mercury is the shortest movement. It sparkles with quick exchanges and shifting colors. Melodies dart effortlessly between instruments, creating a sense of motion and agility. Holst’s orchestration gives the music an almost weightless quality, as if it exists between worlds. 

 

IV. Jupiter, the Bringer of Jollity

This noble theme has become one of the most beloved melodies in orchestral music, often associated with shared humanity and hope. Jupiter reminds us of the joy  found beyond individual experience, in community, generosity, and collective spirit. In 1921, Holst set the tune to "I vow to thee, my country" and it has since become a British patriotic hymn and the theme song of the Rugby World Cup. 

 

V. Saturn, the Bringer of Old Age 

Saturn reflects the passage of time and the inevitability of change. The movement begins with a slow, deliberate tread that suggests weariness and introspection. Gradually, the music builds in intensity before resolving into a sense of acceptance and calm.

 

VI. Uranus, the Magician

Bold and unpredictable, Uranus bursts forth with sudden gestures and dramatic contrasts. Playful and disruptive, the music embodies surprise, transformation, and creative energy. Moments of chaos give way to brilliance and humor, reminding us that discovery often lies beyond the familiar. Uranus celebrates the power of imagination and the unexpected forces that propel us forward.

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VII. Neptune, the Mystic
On the furthest planet, silence is golden, the music never goes above a pianissimo dynamic. Neptune unfolds with hushed dynamics and drifting harmonies, creating an atmosphere that feels suspended beyond time. Subtle orchestral colors shimmer and recede, with gently overlapping lines that blur traditional sense of melody and pulse. Rather than moving toward a clear destination, the music seems to hover, inviting quiet listening and inward reflection. As the movement progresses, the sound gradually thins and withdraws, dissolving into silence rather than
resolving. In this final gesture, Holst offers no dramatic conclusion, only a sense of openness and calm.