Holst’s tribute to the
planets is heavenly

It was March 1913, and English composer Gustav Holst was facing a midlife crisis. His first large-scale work, an opera called "Sita," had failed to win a cash prize at a composition competition, and his production of Henry Purcell's opera "The Fairy Queen" had bombed. He was miserable.

'From Mozart to Jupiter' Halekulani Masterworks concert featuring Lisa Nakamichi, guest conductor Joan Landry, the Honolulu Symphony and Symphony Chorus: Concert times: 8 p.m. Friday and 4 p.m. Sunday Place: Blaisdell Concert Hall Tickets: $21 to $64 each Call: 792-2000 or Ticketmaster at 877-750-4400

Then a little luck came his way. Thanks to a monetary gift from an anonymous benefactor, he traveled to Spain with Clifford Bax, the brother of composer Arnold Bax, for a holiday. During their journey, Bax introduced Holst to astrology. An astrologer in his own right, Bax described how each planet represents certain characteristics and personality traits. Fascinated, Holst began to imagine a musical portrait for each planet. This weekend at the Honolulu Symphony, I will have the honor to conduct the result of Holst's heavenly inspiration: his magnificent work "The Planets."

In 1913, astrology was experiencing a renaissance across England and Europe. Many believed that the positions and aspects of the planets influenced human affairs. But in 1913 the planet Pluto had yet to be discovered, so Holst had only seven planets to deal with, Earth excluded. The seven movements of "The Planets" -- representing the qualities and persona of each planet -- are a seven-course musical feast. No emotion goes unexpressed, and almost every orchestral color is experienced.

Holst was one of the first composers to link orchestral music and astrology. Historically, there have been many connections between music and space. For example, Pythagoras believed each planet emitted an audible frequency and called it the "Music of the Spheres." In the 1700s, astronomer William Herschel discovered Uranus. Herschel was also an accomplished composer and musician; he played the harpsichord. But in this case, Holst was really on to something new and revolutionary, something "new age."

During the pre-World War I period, the orchestra was at its largest size of all time. Holst lived at the time of the composers Mahler, Richard Strauss and the young Stravinsky. Not only was Holst inspired to match the number of instruments used by Mahler and Strauss, but he also created his own innovative orchestration, including rarely heard bass flute and bass oboe. At times he even employed two harps, organ and celesta, a small keyboard instrument.

Holst attended concerts by Stravinsky and Schoenberg, and was aware of Debussy. You can hear all of that in "The Planets," yet even with these influences, it is a one-of-a-kind experience. Holst described his piece as "a series of mood pictures," and in Mars, "The Bringer of War," he uses the orchestra's full power to depict a war machine. Whether you imagine a line of military tanks or a sci-fi battle, it will leave you breathless.

In the next movement, Mars' opposing moods, peace and beauty, resonate beautifully. Venus, "The Bringer of Peace," was written for a much smaller orchestra, and in it you first hear a solo French horn in the distance. Imagine harps, flutes and soft winds and strings, all expressing the serenity we long for after the opening portrait.

Mercury "The Winged Messenger" is quite simply a humorous character. Mercury's tempo is fast, with woodwind sounds running up and down, singing various melody fragments. In a sense, Mercury is running in two directions at once, never sitting still long enough to express a complete thought. Holst took advantage of that quality and wrote this movement in two keys at once.

With the planet Jupiter, Holst affected audiences in a way he never imagined. In Jupiter "The Bringer of Jollity," you will hear a beautiful and familiar hymnlike tune. Cecil Spring-Rice, British ambassador to the United States from 1912 to 1918, was so moved when he heard Jupiter that he wrote lyrics to it. Holst agreed to allow this hymn, known as "Vow to Thee My Country" or "Thaxted," to be performed in England, and it became an unofficial national anthem in post-World War I society. In England it's often the second hymn sung after a marriage ceremony, in celebration of the union. Diana, Princess of Wales, requested that it be sung at her wedding, saying that it had "always been a favorite since schooldays." It was also sung at her funeral in 1997.

AS WE PROGRESS toward distant planets, the orchestra's sound changes. So far we've heard music distinct for its melodies, tempos and colors. Now we begin the journey to the more remote and mysterious planets. Saturn begins slowly, and we're not quite sure what we're hearing. Low harps and flutes -- it's a murky sound, almost impressionistic, similar to Debussy. This gives way to a chorale for the low brass, leading us into a more upbeat and positive sound.

"The Bringer of Old Age" is the theme of this movement, and many believe it begins with the realization that everyone must grow old in time. That means we might be moving more slowly and perhaps looking less vibrant. Eventually, we accept our destiny and strive to find deeper meaning and happiness in life.

Uranus represents the unexpected. Holst describes it as "The Magician," and here you'll find the last-large scale movement, summoning all the orchestral forces on stage. "Bombastic" is the best word to describe the sound! Many have compared this sound to "The Sorcerer's Apprentice" by Dukas, so listen carefully and see if you can hear it.

At the end of our journey, we have Neptune, "The Mystic." To me, "The Planets" represents the human experience from birth to death, and Neptune represents the last chapter in our lives. Neptune is the surrender to the unknown. This movement has an eerie, spiritual quality, and you'll hear soft sounds from flutes and harps. But the most innovative technique is the presence of a hidden female choir. You won't see the women of the Honolulu Symphony Chorus, as they will be waiting backstage. You'll hear them only at the end, growing softer and softer. This is truly one of the most dramatic endings in music.

Holst took three years to write "The Planets," performed first in 1918. It became his most popular composition. In "The Planets," I believe he captured the spirit of his country just as the war ended, and with its singular orchestration and beautiful melodies, it has become an audience favorite worldwide.

Join us this weekend to experience "The Planets!" These Halekulani MasterWorks concerts, titled "From Mozart to Jupiter," also feature Hawaii's own Lisa Nakamichi in performance of Mozart's delightful Piano Concerto No. 23 in A major, and Chinese-American composer Bright Sheng's "Tibetan Swing." Hope to see you in the audience!