#Ac3d planets full
#Ac3d planets series

She added that Holst's chronic neuritis in his right arm was troubling him considerably and he would have found it impossible to complete the 198 pages of the large full score without the help of two colleagues at St Paul's, Vally Lasker and Nora Day, whom he called his 'scribes'. Imogen Holst wrote, 'Weekends and holidays were the only times when he could really get on with his own work, which is why it took him over two years to finish The Planets'. Holst had a heavy workload as head of music at St Paul's Girls' School, Hammersmith and director of music at Morley College, and had limited time for composing. 'However, opening with the more disturbing character of Mars allows a more dramatic and compelling working out of the musical material'. 1', which Greene suggests raises the possibility that the composer's first idea was simply to depict the planets in the obvious order, from nearest the sun to the farthest. In an early sketch for the suite Holst listed Mercury as 'no.

Nor is the order of movements the same as that of the planetsРІР‚в„ў orbits round the sun his only criterion being that of maximum musical effectiveness. ignoring some important astrological factors such as the influence of the sun and the moon, and attributing certain non-astrological qualities to each planet. But although astrology was Holst's starting point, he arranged the planets to suit his own plan:

Holst took the title of two movements РІР‚вЂњ 'Mercury, the Winged Messenger' and 'Neptune, the Mystic' РІР‚вЂњ from Leo's books. Short writes that some of the characteristics the composer attributed to the planets may have been suggested by Alan Leo's booklet What is a Horoscope?, which he was reading at the time.

#Ac3d planets series

Holst described The Planets as 'a series of mood pictures', acting as 'foils to one another', with 'very little contrast in any one of them'. That suite had been performed in London in 1912 and again in 1914 Holst was at one of the performances, and he is known to have owned a copy of the score. Holst's biographer Michael Short and the musicologist Richard Greene both think it likely that another inspiration for the composer to write a suite for large orchestra was the example of Schoenberg's Five Pieces for Orchestra. Imogen Holst, the composer's daughter, wrote that her father had difficulty with large-scale orchestral structures such as symphonies, and the idea of a suite with a separate character for each movement was an inspiration to him. For two years I had the intention of composing that cycle, and during those two years it seemed of itself more and more definitely to be taking form. РІР‚В¦ whether itРІР‚в„ўs good or bad, grew in my mind slowly-like a baby in a womanРІР‚в„ўs womb. The composer conducted two recordings of the work, and it has been recorded at least 80 times subsequently by conductors, choirs and orchestras from the UK and internationally. The innovative nature of Holst's music caused some initial hostility among a minority of critics, but the suite quickly became and has remained popular, influential and widely performed. The first complete performance at a public concert was given at the Queen's Hall on 15 November 1920 by the London Symphony Orchestra conducted by Albert Coates.

Three concerts at which movements from the suite were played were given in 1919 and early 1920. The premiere of The Planets was at the Queen's Hall, London on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character. In the last movement the orchestra is joined by a wordless female chorus. 32, is a seven- movement orchestral suite by the English composer Gustav Holst, written between 19.