Planetariums and observatories around the world have been holding special viewing sessions this month for those interested in seeing the alignment of the planets. “Planet parades,” where five or six planets are visible in the night sky, aren’t unusual, but they don’t happen with any regularity, either.
This February 28th, sky watchers will be treated to something more: seven planets will be aligned on the same side of the sun! Just after sunset, Saturn, Mercury, Neptune, Venus, Uranus, Jupiter and Mars will align. While Mercury, Venus, Mars and Jupiter will be visible to the naked eye, you will need a pair of binoculars or a telescope to see Uranus and Neptune, and to be able to see Saturn you also will need to know the exact time for your location, or you might want to download a smartphone app like “Sky Tonight."
With so many people around the world getting into this month’s seven-planet floor show (sky show?), it seems appropriate to focus on classical music’s “seven-planet parade”: Gustav Holst’s The Planets.
Holst was teaching music at both St. Paul’s Girl’s School and at Morley College when he agreed to go on a vacation with some friends to Spain in 1913. He hoped that the change of environment would help with his depression, which was getting worse due to what felt was a lack of progress he was making as a composer. While in Spain, his friend Clifford Bax introduced him to the field of astrology. Holst was so taken with the idea that the placement and orbits of stars and planets could affect one’s life that he became an astrology fanatic. He was known to prepare horoscopes for his friends.
Its easy to see, with this newfound hobby, how he’d be inspired to write music about the planets. What most people don’t know is that the seven pieces, one for each planet (except for Earth), were not about the science of astronomy, nor even about the Roman gods for whom the planets were named, but rather about the personalities and emotions associated with the astrological side of each.
Holst began composing in May of 1914, writing three movements (Mars, Venus and Jupiter) that first year, three more in 1915 (Saturn, Uranus and Neptune), and then, finally, Mercury in 1916. He envisioned the pieces being for two pianos, four hands, except for what became the final movement, Neptune. He felt that the most distant planet needed a more mysterious sound and composed that piece for organ.
Due to a number of health issues, Holst was rejected when he tried to enlist in the English army at the start of World War 1. He still wanted to contribute to the war effort and volunteered to teach music to soldiers. Just before he was to ship out to Northern Greece to become “Musical Organiser,” another of his friends arranged to have the first orchestral performance of The Planets at his farewell party. About 250 people attended the concert with Adrian Boult conducting a hastily–pulled–together orchestra made up of members of the Queen’s Hall Orchestra and some of his students from St. Paul’s School. The performers had been given only about 2 hours to rehearse, so while it wasn’t the dream premiere for his piece, those in attendance were very impressed. Their encouragement did a lot for Holst's self-esteem.
After the war several other performances were given to introduce the public to the suite, but none of them included all seven movements. It wasn’t until November of 1920 that the complete suite was performed, this time by the London Symphony Orchestra, conducted by Albert Coates. The piece was well received, to the point where the success that had eluded Holst for his entire career up to that point changed, seemingly overnight. You could say that this one suite about “planets” made him an international “star.”
Here are the individual movements that make up The Planets, Op. 32.
Mars, the Bringer of War
Although Mercury is the first planet in our solar system, Holst wanted to begin his suite with Mars. He sketched out Mars before World War 1 broke out and he denied many times that this movement had anything to do with the actual war. According to his friend and conductor Adrian Boult, "I well remember (Holst) saying that he wanted the stupidity of war to stand out..." The movement is aggressive, violent and and famous for its dissonant rhythms.
Sir Charles Mackerras conducting the Royal Liverpool Philharmonic Orchestra:
Venus, the Bringer of Peace
Although in ancient Roman mythology Venus is known as the goddess of Love, Holst portrayed Venus as the "Bringer of Peace." His daughter Imogen Holst said her father wanted the second planet to be a sharp contrast to the brutality of Mars. Holst's Venus is peaceful and harmonious.
Richard Hickox conducting the London Symphony Orchestra:
Mercury, the Winged Messenger
In paintings and statues, Mercury is usually portrayed with wings either on his helmet or attached to his sandals. This was supposed to visually describe how fast of a messenger he could be. In astrology, Mercury represents communication and self-expression. Holst played with the ideas of communication and swiftness by having various instruments pass around the melody.
John Eliot Gardiner conducting the Philharmonia Orchestra:
Jupiter, the Bringer of Jollity
The most optimistic, and even majestic, of the movements, Jupiter brings a positive energy to the suite. In astrology, Jupiter is referred to as the planet of good fortune. In the midst of all this good cheer, however, you'll also hear the moving Anglican Church hymn, "I Vow to Thee, My Country," which gives the listener a brief respite from the high energy.
Herbert von Karajan conducting the Berlin Philharmonic:
Saturn, the Bringer of Old Age
It is said that Saturn was Holst's favorite movement. As he did with the placement of gentle Venus after the brutal Mars, once again he shifts from the positivity of the previous movement and exposes us to "the dark side." Saturn has a foreboding sound since in astrology it is the planet that makes you face your fears, including death that finds us all.
Sir Adrian Boult conducting the London Philharmonic Orchestra:
Uranus, the Magician
In astrology Uranus is a magician who utilizes the latest technologies and inventions to surprise and amaze unsuspecting commoners. In fact, Holst has Uranus cast a spell right at the beginning with a four-note tune. The movement picks up steam with unusual time signatures and eccentric dancing references before it ends on a mysterious dark note.
Susanna Malkki conducting the BBC Symphony Orchestra:
Neptune, the Mystic
I mentioned above that Neptune was the only planet represented by the organ instead of Holst's original piano choice. He wanted to convey other-worldly eeriness for the planet described as "dark and mysterious." Once orchestrated, Holst had a women's chorus added to sing sounds without words to further create the idea of the infinite unknown.
Peter Oundjian conducting the Toronto Symphony Orchestra, Women of the Elmer Iseler Singers and the Amadeus Choir:
And as you bundle up to head outdoors to take in the Seven-Planet Parade, enjoy:
The Planets
The whole suite performed by Seiji Ozawa and the Boston Symphony Orchestra.
CODA: This USAToday article explains the Planet Parade, complete with colorful graphics.
Happy planet hunting!
P.S. You’ll have a chance to hear this piece live this summer, in a Boston Symphony concert at Tanglewood on August 23. Hear and read an extensive preview of the summer season with the BSO’s President and CEO Chad Smith.
