Gustav Holst (1847-1934) wrote The Planets Suite Op.32 from 1914-1916, while he was Head of Music at St. Paul’s Girls School in Hammersmith, England. Holst loved to travel despite his introverted nature, along with personal interests in Hindu literature and Sanskrit. Holst often featured elements of Mysticism in his compositions, playing with unique sonorities. The Planets Suite Op.32 is a series of seven mood pictures inspired by the human characteristics assigned to each planetary body in Modern Astrology. Host released this suite over two years. Mars, Venus and Jupiter were released in 1914 while Saturn, Uranus, and Neptune were released in 1915, leaving Mercury to be the last released in 1916. The first time the suite was heard in its entirety is in 1920, premiered by the Queens Hall Orchestra in London. Holst’s masterpiece was a favorite of the public, pushing the boundaries both sonically and mentally.

Holst’s interest in Astrology led him to the published works of Alan Leo, a Modern Astrologer who is credited with building Astrology as a discipline in the modern era. With reference to Leo’s textbooks, like Astrology for All (1931) and The Art of Synthesis (1912), Holst used the personality characteristics assigned to each specific planetary body by Leo to create and inspire his seven mood pictures. Coincidentally, the movements are in the same order Leo presents them in his textbooks. The piece has only an indirect connection to Classical Mythology; a connection the press and critics used to describe the piece during the height of its popularity. Many see the movements as personifications of Greco-Roman Gods and Goddesses. However, via interdisciplinary scholarship, both mythological and astronomical interpretations are both popular and viable, helping create Holst’s masterpiece a wonderous sonic journey.  One of many interpretations is that The Planets Suite is intended to showcase the journey of different feelings within the human psyche via the astrological characteristics of each planet.

Holst uses musical chords to add a whole new depth to his work. In line with Richard Greene’s book, The Planets, Holst’s choice of chords acts as a presentation of psychological dissonance using the suite as a vehicle in the journey of ambiguity to resolution. In this journey we have tonal ambiguity, meaning new harmonic content, forming symmetry around augmented chords and their dominants. Mars hides behind the blaring ostinato, losing its tonal center. Venus hints at a home key but never states it, leaving Mercury with a wash of sound that never resolves. Jupiter establishes its tonic early but never settles in it. Saturn and Uranus tease us with multiple possible tonics, establishing a sense of wonder. Finally, in Neptune we get tonal centers being established and used. Ultimately, we see a symmetrical tonal journey starting with G#(D#) to C (with G) to E (and B) creating the alternative tonal structures Holst was famous for using. Although, one might ask, how does this relate to astrology?

The tonal journey Holst shows represents the move from physical aggression to mystical serenity. The key of C can be associated with physicality, while our final key of E can represent a metaphysical and mystical state. Mars is seen as rage, while Venus is art. Mercury becomes flexibility, while Saturn is perseverance. Uranus depicts reckless eccentricity leading to the reconciliation of Jupiter. Leaving Neptune to present as stoicism and acceptance. These characteristics go along with Leo’s character descriptions for the planetary bodies in his textbooks. The Planets is more than just its namesake; it is a journey through the psyche.

Mars, the Bringer of War, portrays rage, aggressiveness, brutality, and war. The constant forces of the strings push the brass forward toward a sense of darkness, leaving nothing in its wake. This movement leans toward the illogical, showing its primal nature. The astrological symbol for Mars being a shield and spear, arm the music with rhythmic combativeness that displays inner strength. However, this strength fractures. At the end of the chaos, the final disturbingly dissonant chords shatter the strengthened core, leaving death and destruction.

In response to this destructive nature comes Venus, the Bringer of Peace.  Within the darkness, a twinkling light of hope emerges within the celesta. The elegance of the music can be found in the violin solo, and a sense of reconciliation in the oboe, ushering in a sense of calm, peace, beauty, and tranquility.  Romance and reassurance swirl within the orchestra, creating serenity and mindfulness. We move back toward logic and rebuild what was lost.

Mercury, the Winged Messenger, highlights the infinite possibilities and joy in exploration. The swirling woodwinds and quicksilver solos flow through the orchestra, allowing a sense of playful wonder. Vibrancy and whimsicality imitate the sparks of brain activity as we explore the unknown. The orchestra showcases its craft and flexibility, further exploring the infinite imagination within this movement. The final thing we hear is the ‘ah ha’ moment causing great satisfaction.

Jupiter, the Bringer of Jollity, radiates happiness and joy. Within the many memorable melodies, we see the joy of laughter, joy of dancing, and the throws of passion. Its main theme comes later in the music, with the orchestra all in harmony. This broad melody exudes passion and comradery. We hear the joy of life. A whirl of emotion sums up this movement, leaving happiness and triumph.

Saturn, the Bringer of Old Age, presents the somber and repetitive ticking of time with the woodwinds in an endless ostinato. In a completely opposite character than before, Saturn displays growth and inner reflection. Right from the first few chords, the pianissimo has a constant growth toward an all-encompassing fortissimo, rattling the consciousness. However, instead of grief and fear, lightness and serenity shine through the darkness. Saturn transforms from desolation to serenity, showing growth, memory, and the inner moral struggle presented in Holst’s music.

What is a journey without a bit of wonder? In Uranus, the Magician, parody and bewilderment take on a new definition. The bubbling and off-kilter melody throws off our sense of direction leading us to the unknown. Through the high-spirited and thundering motives, the magician tricks us, ending this movement with a whisper.

From the very beginning, Holst presents us with a mystifying flute melody. Neptune, the Mystic, brings a sense of otherness, as the orchestra continues its spectral playing. Within the celesta and harp, the wash of sound transcends our earthly limits. For his final trick, Holst introduces a hauntingly beautiful women’s chorus that fades into the distance. Instead of a grand finale, the music ends with an ethereal murmur.

Holst’s journey into the human psyche represents a new art form to our eager ears. Within The Planets Suite Op.32, Holst renders a range of real emotions through music.

The Nashville Symphony will present Holst’s The Planets, along with Joaquín Rodrigo: A la busca del más allá (In search of the beyond), and a world premiere of James Lee III’s Saxophone Concerto with Timothy McAllister on Sax and Tito Muñoz at the podium on March 27-29. Get your tickets at tickets.nashvillesymphony.org. 

Music Examples for this article are drawn from: Green, Richard, Ex.6.3 Key scheme for The Planets, in “On becoming The Planets: the overall design,” in The Planets, Cambridge: Cambridge University Press, 1995, pg.78.

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• Holst’s The Planets Suite Op.32: Mythology, Astronomy, and Astrology