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A Journey in Music and Film: The Planets
A Journey in Music and Film: The Planets
Mozart
Symphony No.41 Jupiter
INTERVAL
Holst
The Planets
Accompanied by a high-definition
film, produced and directed by
Duncan Copp
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Geoffrey Rush
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about the music
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CONCERT INFORMATION
This concert has a duration of approximately two hours,
including an interval of 20 minutes.
Monday evening’s performance of this program will be
recorded for later broadcast around Australia on ABC
Classic FM (on analogue and digital radio), and for
streaming on its website.
Please turn off your mobile phone and all other
electronic devices before the performance commences.
If you do not need your printed program after the
concert, we encourage you to return it to the program
stands located in the foyer.
Melbourne Symphony Orchestra programs can be
read on-line or downloaded up to a week before each
concert, from www.mso.com.au.
about the music
18th-century garb. But who else wrote It was not in Holst’s character to crave
any minuet like this, with its subtly success. His major interest was in
scored beginning wrapped in waving creating something new with every
string figures, its chromaticism, and work, and fame only made that more
its brief but powerful reminders of difficult for him. As his daughter
the majesty of the whole symphony? Imogen recalled in 1974: ‘He thought
The Trio seems more continuous with that the few years when he was
the minuet than usual, though its successful were a waste of time.’
beginning arrests the ear, causing
The ‘few years’ were those following
us to wonder what will follow. Many
the first public performance of
have found in this Trio more than an
The Planets in November 1920. He
outline of the theme of the great last
became famous almost overnight
movement.
and, since the idea of exploiting the
In 19th-century Germany the Jupiter work’s success filled him with horror,
was known as ‘the symphony with the it may be surmised that he was not
fugal finale’. Learned commentators equipped for celebrity status. As he
have pointed out that it is not in fact told a friend: ‘If nobody liked your
a fugue, but a sonata-form movement
with fugato episodes. The thematic Gustav Holst work…you’re in no danger of letting
the public make you repeat yourself.’
basis of this movement is a four-note (1874–1934)
Holst reached this reluctant fame
tag used by many composers: Haydn, The Planets – Suite for Large as a composer from a very practical
Mozart himself, and others from Orchestra, Op.32 musical background. Neuritis
Palestrina through Bach to Brahms.
Mars, the Bringer of War made him switch as a young man
The coda of the movement, where
Venus, the Bringer of Peace from his chosen instrument of
five motives are combined in inverted
Mercury, the Winged Messenger piano to trombone, on which he
counterpoint, is not an effect inviting
Jupiter, the Bringer of Jollity became a professional, supporting
analysis, but sweeps the listener away
Saturn, the Bringer of Old Age his composing by playing in
through its exciting power. Mozart
Uranus, the Magician bands, concert orchestras and
remains an entertainer even at his
Neptune, the Mystic in the opera pit. Thus his earlier
most serious.
academic training, at the Royal
Abridged from a note by David Women of the Melbourne College of Music, was supplemented
Garrett © 2001 Symphony Orchestra Chorus by this substantial practical
The Melbourne Symphony Orchestra first experience of instrumentation and
performed Mozart’s Symphony No.41 on 27 June compositional technique.
1940 at a Celebrity Orchestral concert conducted
At the same time his musical interests
by Sir Thomas Beecham. Tadaaki Otaka
conducted the most recent performance, on 16 were expanding from his early love
February 2011 at the Sidney Myer Music Bowl. of Wagner to the composers of the
first British musical renaissance,
particularly Byrd, Morley, Weelkes
and Purcell. With his friend Vaughan
INTERVAL Williams, Holst became an enthusiast
for and collector of British folk songs.
He also gave up the trombone to
become a full-time music teacher.
These changes to his life are reflected
in his music: the folk-imbued
orchestral work A Somerset Rhapsody
and his choral ballet The Morning
of the Year; the many part-songs
inspired by the English madrigal
composers; and the works that capture
the values he promoted as a teacher,
including the St. Paul’s and Brook Green
suites for strings, both written for his
pupils at St. Paul’s Girls School.
about the music
His interests outside music The Planets in its complete form was
also carried important musical not played publicly for another two
implications for him. His reading of years. The swiftness of its success
Hindu literature and philosophy in at that point may be judged by the
translation led him to compose the circumstances of its United States
remarkable chamber opera Savitri debut. An intense dispute arose
(1908). Learning Sanskrit allowed between the orchestras of New York
him to translate the texts he used and Chicago for the country’s first
in his four sets of Hymns from the Rig performance, resolved only when
Veda (1908–12); and his fondness of both organisations agreed to perform
the Falstaff character gave him the the piece on the same evening (New Mars Rover 2 © JPL and NASA
impetus for his opera At the Boar’s York coming in by a nose because of
Head (1924). the time difference).
Mars, the Bringer of War
So it was with his interest in the The boldness of Holst’s invention The pounding 5/4 rhythms of Mars
planets of our solar system. In a letter and the brilliance of his picture- have been used in countless films
of 1913 he wrote: ‘As a rule I only painting have ensured the work’s and documentaries to depict the
study things that suggest music to enduring popularity, as has its horror of the Great War, yet this
me. That’s why I worried at Sanskrit. frequent appearance (or plagiarism) movement – the first Holst wrote
Then recently the character of each in documentaries and movies. – was completed in short score just
planet suggested lots to me, and I The Planets’ importance also lies in before war broke out. It begins with
have been studying astrology fairly the image it gives us of the musical a menacing theme emerging over a
closely. It’s a pity we make such a idioms in the ‘British ether’ during tread of timpani, strings (using the
fuss about these things. On one the 20th century’s second decade; wood of the bow) and harp rising in
side there’s nothing but abuse and Stravinsky, Rimsky-Korsakov, Debussy, crescendo to a powerful statement
ridicule, with the natural result that Sibelius, Wagner and Elgar all make before the central episode introduces
when one is brought face to face guest appearances in the piece, yet, fanfares suggesting, or mocking,
with overwhelming proofs there is a as musicologist Gerald Abraham put military glory. The concluding section
danger of going to the other extreme. it, ‘each is dissolved in the alembic brings the two main ideas together in
Whereas, of course, everything in the of Holst’s creative imagination.’ a ferocious collision which results in
world – writing a letter, for instance The Planets also points towards a chaos and oblivion.
– is just one big miracle itself. Or British musical language in which the
rather, the universe itself is one.’ Long folk-song tradition plays a small part
after the music of The Planets had in a more ambitious, cosmopolitan
been completed, Holst was casting his endeavour. This is why many critics
friends’ horoscopes. regard Benjamin Britten as Holst’s
natural successor.
Although he began composing
The Planets in 1914, his teaching The Planets is scored for a large
commitments allowed him only orchestra that includes six horns,
sporadic work on the piece, and he two tubas, six timpani (requiring two
did not finish all seven movements players), two harps, celeste, organ and
until 1916. (Incidentally, the work a generous percussion complement
is not a complete journey through including xylophone. In the final
the solar system: Earth is omitted, movement only, Holst calls for a six-
and American astronomer Clyde part chorus of female voices.
Tombaugh did not discover Pluto
until 1930.) His friend and musical
patron Balfour Gardiner gave Holst
the present of a private orchestral
performance in 1918, conducted by
Adrian Boult. Holst was delighted and
astonished: he had been convinced
that a performance of so complex a
work for so large an orchestra would
be impossible in war-time conditions.
about the music
Venus, the Bringer of Peace Mercury, the Winged Messenger Jupiter, the Bringer of Jollity
Venus is a picture of beauty and Here the main theme darts from Jupiter’s dazzling syncopated opening
serenity, and perhaps the movement section to section in appropriately could well be the theme for a TV
most influenced by the music of mercurial fashion, until the violin news program. A kind of rotund
Debussy and Ravel in its shimmering announces a delicate variant of it jollity soon descends upon the
textures. The horns, woodwinds in the sinuous manner of Rimsky- movement, before a sudden change to
and harps dominate much of the Korsakov’s Sheherazade. But this newly 3/4 brings in its wake one of Holst’s
piece and establish its atmosphere, fashioned theme does not stay long noblest melodies, known in its own
Holst delaying the entry of the upper in one place either, and is passed in right as the patriotic hymn I vow to
strings to magical effect. turn to oboe, flute and celeste before thee my country. Jupiter has long been
the full orchestra takes it up at the The Planets’ most popular movement.
climax. The movement does not so
much conclude as dart away.
Saturn, the Bringer of Old Age Uranus, the Magician and ice. Technically speaking this is
This was Holst’s favourite movement. Dukas’ Sorcerer’s Apprentice is the a study in sonority, where nothing
The quiet tolling of two chords on seed only of this rollicking essay rises above pianissimo and where what
flutes and harp, suspended over in orchestral colour. The coldly seems like the suggestion of melodic
fragmentary double bass phrases, impressive four-note motive heard at movement is really no more than the
brilliantly suggests both the vastness the outset gives way to a swaggeringly swinging of a musical pendulum.
of space and a process of gradual colourful essay in 6/4 time, with The most substantial thing to grab
decay. Gradually, the atmosphere plenty of percussive activity. The onto in this void is a pattern of four
becomes ceremonial, in the manner magician’s temperament gradually rising notes intoned by female voices
of a processional, until there is an becomes quite demonic, before a as an ethereal chant, until the whole
outburst of anger, replete with clashes mad organ glissando ushers in a diaphanous apparition gradually
of bells and brass. The retreat from surprisingly quiet ending. drifts away.
this climax involves a return to the Phillip Sametz © 1999/2008
Neptune, the Mystic
opening’s quietude, but this time with
Holst’s determination to think for The Melbourne Symphony Orchestra first
a greater warmth, perhaps even an performed The Planets on 3 August 1955 with
acceptance of the condition suggested himself is the reason The Planets
conductor Walter Susskind and the Ladies of the
by the movement’s title. In Saturn came into existence at all, but this Oriana Madrigal Choir, and most recently in
and the final movement, Neptune, we movement is perhaps the most daring April 2008, when the Orchestra and the Women
hear the music that was to have the and original of all. In Neptune we seem of the Melbourne Symphony Orchestra Chorus
greatest bearing on Holst’s future to have been cut off from the human were conducted by Richard Hickox.
development as a composer. qualities and ambitions – even the
grotesque ones – with which Holst
has characterised the other planets,
and are adrift in a place of stars
Organ Classics
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Flamboyant organist Cameron
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The Planets –
An HD Odyssey
The images selected to create The Planets – An HD Odyssey
are taken from data returned by planetary spacecraft
which have explored our solar system over the past four
decades. Also used in the production are a number of
movies which were created by the scientist teams. These
animate specific features of particular planets. For
example, a number of ‘weather movies’ are shown during © NASA JPL
the Jupiter movement and a rendering of both radar
SATURN
images and topographic information allows a visualisation
of flying over the volcanoes of Venus. Duncan Copp holds a Master’s degree in satellite remote
The graphics in the production are computer generated sensing and a Doctorate in Astronomy, both from the
and great care was taken to create the most realistic University of London, and he was a member of NASA’s
renditions using read data returned from spacecraft. The Venus mapping team. He is a freelance producer, director,
majority of the images come from the latest missions and presenter and science writer, and has researched and
are produced in High Definition. All represent some of presented award-winning series for the BBC. Last year he
the most spectacular results made by NASA and a number completed Star City, a feature documentary for National
of other organisations dedicated to unlocking the secrets Geographic on the natural history of the Milky Way galaxy.
of the Earth’s planetary neighbourhood.
DUNCAN COPP
producer and director
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DONALD RUNNICLES
Born in Edinburgh, Donald Runnicles OBE is now Chief
Conductor of the BBC Scottish Symphony Orchestra. In the
IN CONVERSATION
more than 30 years since he left his home town, Donald
Runnicles has travelled extensivelly and featured at the BBC
Proms, the Berlin State Opera, the Met, San Francisco Opera,
the Vienna State Opera, and has directed many of the
world’s major orchestras.
The Melbourne Symphony Friends are very proud to present
a unique opportunity to hear and meet him in person.
© San Francisco Opera
Bookings and enquiries Please call Joyce Bown on 9558 3383 or Maureen Kable 9859 9974
(1908–12), which contain some of his
most innovative choral writing. The
third set, for female voices and harp,
cannot have been far from Britten’s
mind when he wrote his Ceremony of
Carols. Similarly, the impact of Savitri
on the composer who was to create
the term ‘chamber opera’ must have
been profound. Critic and author
Roger Covell has noted that, in these
and other respects, ‘Holst is Britten’s
most immediate ancestor in English
music.’ Holst, incidentally, would
later learn Greek in order to translate
passages from the Apocryphal Acts of
St John for his Hymn of Jesus (1917).
The Planets brings the language of
© JPL & NASA many of these pieces together: the
climax of Savitri finds an echo in
SATURN Saturn, the gossamer texture of the
‘It is Maya!’, the character Satyavan
is accompanied by wordless chorus Hymn to the Waters (from Group 3
holding a suspended ‘pedal’ chord, of the Rig Veda hymns) finds an
we realise we are in the presence of a orchestral equivalent in Mercury, and
vivid and unique imagination. But, as so on. Mercury then served as the basis
musicologist Gerald Abraham wrote for much of Holst’s 1921 ballet score
later, ‘no opera could more austerely The Lure. Similarly, the final moments
discard everything that appeals to an of Neptune inform the Ode to Death,
audience’. Indeed Holst was rarely again based on Whitman, of 1919.
interested in ‘appealing’. He was But in two important respects
interested in working his passions The Planets is untypical of Holst’s
into his music. In 1926 he wrote to his work. It is for a large orchestra, and
friend Ralph Vaughan Williams: is quite long (around 50 minutes).
‘…I still believe in the Hindu doctrine Most of Holst’s music is short, and
of Dharma, which is one’s path in created for small forces. In the
life. If one is lucky enough…to have pieces written after The Planets, the
a clearly appointed path to which size of the ensembles tends to get
one comes naturally…one ought to smaller and the textures sparer, as
try and stick to it. And I am oriental he became interested in English
enough to believe in doing so without madrigal composers and in the
worrying about the “fruits of action”, absolute possibilities of counterpoint.
that is, success or otherwise.’ As early as 1916, in the Four Songs for
Voice and Violin, he creates a complete
Savitri arose out of Holst’s reading of world of feeling on the smallest scale.
Hindu literature and philosophy in Egdon Heath (1927), although written
translation. He once told his daughter for conventional orchestral forces, is
Imogen: ‘Never learn anything until supremely quiet, rising above piano
not knowing it becomes a positive only in two short sections. Even in
nuisance to you’ and eventually the Moorside Suite (1928), written for a
he learned Sanskrit at London’s major British brass band contest, Holst
School of Oriental Languages. He spends much of his time exploring
became fluent enough to translate quieter sonorities. The work’s second
from it and, in addition to Savitri, movement, in particular, sounds like a
immediately began writing four sets chamber work.
of Choral Hymns from the Rig Veda
In any case, the length of The Planets
is somewhat deceptive, disguising
as it does seven short character
pieces. Holst was painfully aware that
sustaining large forms was not one of
his gifts, and there is only one other
really ‘big’ piece from his maturity,
his Choral Symphony (1924), an intense
and resourceful setting of Keats’
poems, including the Ode on a Grecian
Urn, in four substantial movements.
He did not write a really long work
again after that.
None of Holst’s pieces offers a
complete view of his interests
and musical style, but, from
Savitri onwards, they are all Holst
nonetheless. His integrity as an artist
was immense, and it is this resoluteness
of purpose that shines through so
clearly in all his best music. If you
enjoy The Planets, take a look at his
work using a focal point that gives you
another view.
© Phillip Sametz
JUPITER AND IO
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