EMI Classics presents a magnificent collection that celebrates the life and career of English composer Gustav Holst. Containing an outside selection of Holst s greatest works including his most famous orchestral suite The Planets, the rare The Perfect Fool, as well as the Walt Whitman inspired Ode to Death. This 6-CD collector s edition provides a chance for all classical music aficionados to listen and experience his timeless compositions
This sparkling suite for violin and piano came into being when the composer had to adapt his incidental score for a production of Shakespeare's play to the impending absence of the chamber orchestral. The result is a brilliant piece for violin and piano, which the composer quickly released in a four-movement version. There are other recordings of the chamber orchestra suite in five-movements that duplicate only three of the movements of this version. Violinist Gil Shaham and pianist André Previn are ideal partners in this brilliant performance. The four movements allow Shaham to show four sides of his violinist's personality: He skips and plays in carefree fashion in the opening movement, indulges in the grotesquery and parody of the second, gets to play the romantic in the garden scene of the third movement, and dazzles with virtuosity in the final hornpipe. Previn's part is more than mere accompaniment; the piano often has a large part of the mood of the music and his contribution is, to use a word already employed here, ideal.
The reasons for Holst’s relative neglect, beyond The Planets and the Band Suites, aren’t hard to fathom. He wrote no large works in conventional forms, and never repeated himself. Even the Choral Symphony on poetry by Keats, here in its finest recorded performance to date (by Boult), owes very little to precedent–Mahler’s Eighth and Elgar’s The Black Knight, perhaps–and in any case features Holst’s personal combination of “spacey” orchestral color and rhythmic complexity (sample below). The music is both personal, technically virtuosic, and however beautiful somewhat cool emotionally. There is nothing else quite like it in the early 20th century.
Gustav Holst's "The Planets" is a brilliant portrayal of the other celestial bodies outside of Earth (except for Pluto because it wasn't discovered back when Holst composed this). Mars is violent and in a military march form. Parts of it have the brassy dominating sound resembling that of Darth Vader's theme. Venus sounds like something out of a black-and-white romantic movie, high lush strings, celesta, french horn and all, a personal favorite. Mercury is a very playful sounding piece, strong emphasis on the woodwinds and strings. Jupiter is definately my favorite…
Although best remembered for his devotion to the core Austro-Germanic repertoire, Austrian conductor Herbert von Karajan did flirt with the English repertoire in the '50s and early '60s.
This version of Holst’s endearing masterpiece, “The Planets”, sounds very good in Naxos’ super audio 5.1 technology. I do not have the point one (subwoofer) hooked up in my house and assume, by listening to the recording in 5.0, that the timpani — which are already very powerful and forward placed — would be explosive if you listened in 5.1. The sound is very good otherwise, with wide ranging and natural orchestral body and timbre. It is not the best super audio sound I’ve heard but it is good and a big improvement over the stereo sound on the last version of “The Planets” I purchased, the one Berlin Philharmonic and Simon Rattle released last year.
The Planets, composed between 1914 and 1916, is a suite of seven movements. Holst's starting point for the music was the astrological character of each planet, though his interest in astrology went no deeper than its musical suggestiveness…
Some composers really deserve their reputation as artists whose fame rests on a single work, but with Holst the popularity of The Planets really has obscured the large quantity of good music he wrote in other forms. Part of the problem also stemmed from his daughter, Imogene, who was severely critical of her father's work and whose baleful influence persists to this day. These three choral ballets contain a large measure of delightful and wholly characteristic music. It's crime that we have had to wait until now for a complete recording of them, and fortunately these performances make a strong case for many more.