Holst Sykes

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.

Seven musical character images – each one immensely sensual and expressive, and standing on its own like a monument. The British composer Gustav Holst, fascinated by (esoteric) astrology, chose the planets of our solar system and the characteristics attributed to them as the basis for what he referred to as musical ""mood pictures"" or ""embodiments"". Ultimately, the seven movements of his orchestral suite “The Planets”, op. 32, composed between 1914 and 1916, can also be understood as general explorations of human traits.

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This is a sensational, bang up CD. The sound engineering is rich and full, giving you a full injection of glorious string sound. As for the performances, they are some of the best I've ever heard. The Britten is comparable to the composer's own recording, while the Warlock is absolutely the finest I know of. If you are familiar with recordings of these works by William Boughton and the English String Orchestra or by Sir Neville Marriner and the Academy of St. Martin-in-the-Fields, these performances will not seem out of place in their company.