Customer Reviews

Holst: The Planets

5 star:		(34)
4 star:		(6)
3 star:		(6)
2 star:		(0)
1 star:		(0)

 

 

The most popular selections from this suite are Mars, Jupiter, and to a lesser degree, Uranus. For those as yet unfamiliar with Holst, all of the selections will become very listenable and memorable. Here, Mars is ominous and menacing, and Jupiter is bold and bouncy, just as they should be.

Previn finds the right balance with the orchestra, so the strings and brass do not overshadow each other. In the lesser-known movements, Previn exhibits an understanding for English composers, evident here as well as with his Vaughn Williams performances. And, what better orchestra than the LSO! However, what impresses most about this performance is the tempi of both Mars and Jupiter. The pace of Bernstein and Karajan is too fast: Ormandy is much too slow. Previn (and Dutoit and Solti) finds the pace that enables expression without being ponderous.

Sonically, this may be the best recording of The Planets available. Telarc engineered this in its typical, flawless way. There is great interplay between instruments here, and Telarc captures them with great clarity. The buoyant movements with The Planets really benefit from the wide dynamics.

All in all, this CD has everything in its favor. The Planets are indeed aligned. Five bright stars.

Gustav HOLST's famous orchestral suite 'The Planets' is, without an ounce of a doubt, one of the top achievements in the music art form of the twentieth century. Previn's recording with the Royal Philharmonic has shades of greatness. The central and final sequences in particular are monumental.

Concerning the first part, 'Mars', i've hardly heard better than Boult--or Dutoit notably. Still, it doesn't mean things are "out of tune" with the Previn/RPO ; to the contrary, Previn's contains its share of excitement and is, obviously, of significant value. And if 'Uranus' and 'Neptune' do not seem to capture the sense of a cold, inhuman, remote mystery as much as in Mackerras/RLPO, for instance, then Previn rather insists on other aspects of the journey. Not to mention the clarity and tremendous power of orchestral playing that make this cd a reasonable "best choice". As is usual with most Telarcs, recorded sound is excellent. I intentionally exclude the old "glories of the past" recordings, such as the inimitable composer's own or Boult's boisterous and robust BBC performance of 1945, because it would rather be unfair to put those side-by-side with today's great sounding stereo versions.

'The Planets' were first performed in 1918. At that time, the suite didn't include Pluto. This was before the planet went discovered in 1930 but, ironically, the suite was accurate in portraying eight planets instead of nine : There have been much debate and controversy on the status of Pluto in the last few decades which ultimately led the IAU's definition to be modified and now classifies it as a "dwarf planet". It's also interesting to note that Holst's composition is akin to the frozen, often distant and hostile atmosphere of Vaughan Williams's Seventh Symphony ('Antartica'), even if the themes are obviously different. One is a brilliant attempt to portray (and pay tribute to) the expedition of Scott on the continent of ice ; the other is a powerful (and quite imaginative) attempt to situate the human being in the universe which surrounds him. Both are great works by two geniuses, two congenial minds who belonged to the same generation. 'The Planets' remain Holst's best-known opus, for better and for worse, and endure as one of the most popular pieces of music in the concert hall.

There exist many excellent recordings of this unequivocal masterpiece (some might want to refer to Karajan and also to Levine, both excellent) ; the Previn/LSO (on EMI) and Boult/LPO (also on EMI) are equally very good, reliable accounts. The latter has been coupled on cd with Elgar's 'Enigma Variations' and is one of the best sounding records featuring Boult. Still, this stellar RPO performance--brightly directed by maestro Andre Previn--will stay on my list as one of the most memorable moments in the course of 'The Planets'. *****

If you enjoy Holst's vivid masterpiece, you owe it to yourself to hear Peter Sykes play the entirety of the score on the profound Girard chapel organ. Not only is this historically important instrument entirely capable of conveying the wide color and variety of Holst's music, Sykes is capable of playing it!

So much of this music fits the noble swagger an organ can provide - Jupiter's big tune (starting out on a single, eloquent open diapason) frankly beats the orchestral version. And you haven't really lived until you've heard 32-foot Skinner pedal reeds roar out Mars battle cry. If you enjoy the Planets for their power, you'll find the climaxes here overwhelming.

The sound quality is superb, capturing both the necessary grandeur and reverberation but also clear enough to present the softer felicities of timbre: check out the excerpt from Mercury above.

Finally, though, it is the performance that matters, and here Peter Sykes shows his mastery of Holst's sometimes quirky writing. The necessary virtuosity to pull this score together at the keyboard is always at the ready, but never placed in the forefront. Instead there is an intense, clear, and playful musical intelligence which always knows what is of first importance in this complicated music, as well as a sophisticated registrational sense which finds dozens (hundreds?) of appropriate combinations to illuminate it. Kudos, also, to assistant Vickie Wagner who surely knows the score as well as he by now, and whose contribution must have been immense.

Those of us lucky enough to live in the Boston area have long known just how good Peter Sykes is - in fact, he is perhaps better known as one of our most distinguished harpsichordists, playing and recording regularly with Boston Baroque among many other gigs. But manfestly he "plays it all" in every sense. Do yourself a favor and check this unique recording out - you will NOT be disappointed.

There are so many recordings of this work. I often wonder how Gustav Holst would have felt if he were to have come to realize just how many people would treasure his beloved suite, `The Planets.' And so, as we begin the Twenty-first Century, we retain the legacy of this work through its myriad interpretations. And many would agree that no one recorded interpretation perfectly satisfies our respective views of how the suite should be performed. In essence, there exists in the grand multiplicity of recordings of this work no single, definitive edition. It is therefore necessary for the devoted fan of Holst's most masterful suite to collect as many versions as feasible in order to hear different aspects of the work performed to his or her native expectations.

And so we come to Andre Previn's interpretation of the suite. Overall, I believe Previn's is a competent performance. The Royal Philharmonic Orchestra consistently produces satisfactory material (dare I mention Louis Clark's work with this orchestra on the Hooked On Classics series, a collection of albums for which many enthusiasts keep their deep affection a closely guarded secret), and Previn leads them very well in this recording. The best way to describe his performance here is that it offends no one--his tempi are within the range most people deem "acceptable," he does not emphasize any particular section within the orchestra, and he does not take any glaring liberties with the score. For that reason, I would say that Previn is a very good place for those who are searching for their first recording of `The Planets.'

However, we all have our preferences; some will find other versions far more enjoyable than Previn/RPO, and others will cite this one as the definitive recording. As for myself, I would have to say I fall in the middle. Previn's is a very good interpretation, but it is not my favorite. So far, James Levine/Chicago Symphony Orchestra and Charles Dutoit/Montreal Symphony Orchestra split that honor.

What follows is a detailed description of the five tracks to which I regularly listen. Note that my comments are restricted purely to Previn's interpretation of the suite; I assume my readers will have heard the work and are searching for a suitable recording.


"Mars, The Bringer Of War" - Previn is somewhat staid in this movement. Of course, my objectivity is somewhat compromised in that I have heard the Levine recording of the suite--one feels like he has just removed cotton balls from his ears when he hears the savage treatment the Chicago Symphony Orchestra brass give Holst's melodies. Previn takes a slightly faster tempo in this movement than that to which I am accustomed. The orchestra plays flawlessly, everything is exactly in place, yet the overall effect seems somewhat lost. The dynamics are too compressed, I believe. Even so, the brass section has a very nice tone, and the balance between sections is very nice. My final verdict is that you have not heard this movement performed to its full effect until you have heard Levine/CSO.

"Venus, The Bringer Of Peace" - Maestro Previn does better in this movement. The overall mood is captured beautifully, even though I prefer the soloists in Dutoit's recording (they are not bad here; it's just personal preference on my part for which I will not take away any points). Previn excels at delicate, pensive passages in exactly the manner that Levine does not. Levine is all about power and pomp, which shows on his interpretation of "Venus"--it sounds aimless and rushed. Even though I have praised Previn here, Dutoit/MSO remains the authority on this movement.

"Mercury, The Winged Messenger" - Yes! Previn does it here. His interpretation of this piece is superior to that of either Levine or Dutoit. The section beginning around the one-minute mark, where soli are passed between instruments, is beautiful in the extreme. The dynamic shifts throughout the movement are musical and pleasing. The balance between sections--especially important in this movement--is very well handled. Based on this performance, Previn sounds to me as though he might interpret Mendelssohn well (I should look into that).

"Jupiter, The Bringer Of Jollity" - This is by far my favorite movement in the suite. For me, the middle section of this movement ties with the haunting theme from the second movement of Dvorak's Ninth Symphony as the most beautiful melody in all music. Previn really delivers in this section. Of the three recordings I have, I would have to say that Previn's middle section is my second favorite (after Dutoit, even though he meddles with the score somewhat with some omissions of instruments). It would be my favorite if it were not for the flat, lifeless production. I will comment on the production later on in the review. As for the remainder of the piece, Previn brings to the surface many elements which often go unnoticed in other versions. In particular, Dutoit's version is bereft much of the interesting background instrumentation that is heard loud and clear in Previn's version. Previn takes a somewhat slower tempo than I have usually heard for this movement, perhaps to facilitate greater accuracy. In that capacity he succeeds brilliantly; technically, this is the finest recording of the three I own. Overall, this is a very solid recording of one of my favorite movements in all classical music.

"Saturn, The Bringer Of Old Age" - This is yet another shining moment for Previn. The dynamics are divine, the tempo is perfect, and the brass sounds particularly rich and wonderful. Previn voiced this section particularly well in this movement. The strings are smooth, the woodwinds expressive, and the percussion is spot-on. While the Dutoit recording might be just a little better (simply because of the soul-vibrating bass at the end of the movement--unequaled in any other recording), the distance between the two is so small that, on some days, I prefer Previn.

As for the next two movements, my objectivity fails. This is possibly because I have not heard either of them in over seven years. They are both far too abstract for my liking.


And now we come to the production quality. I cannot attest to the quality of other Telarc productions, but this one is absolutely pitiful. The high ranges sound dull and lifeless, the midrange is muddy and unfocused, and there seems to be a peak somewhere around the 130 to 160 Hz range that makes the music sound bloated. Additionally, the dynamics seem compressed somewhat (perhaps it is Telarc, and not Andre Previn, that has truncated the dynamic flow of "Mars"), and the recording level is very low (one must set the volume on the playback device to near maximum to experience an acceptable level). The poor quality actually mars my enjoyment of the suite and my evaluation of Previn's work. This is particularly apparent to me in "Jupiter", possibly because this is my favorite movement in the suite. As I said before, the middle section in Previn's interpretation would be my absolute favorite were it not for this lamentable production. Of the three recordings I own, Levine's is the best sonically. One could really believe he is in the hall listening to a live performance. Dutoit's is acceptable (it is a little weak in the bass and the strings sound a little harsh), considering that its sonic imperfections do not detract considerably from the experience.

Of course, that is my opinion. Your miles may vary.

However, despite the poor production, I would still recommend this recording as a solid reference as to how the suite should be performed. For the prospective buyer it would make an excellent first recording of the work, and it is also a fine supplementary purchase, even though it is fairly expensive. I would also recommend the other two recordings I have periodically mentioned: James Levine/Chicago Symphony Orchestra (on Deutsche Grammophon) and Charles Dutoit/Montreal Symphony Orchestra (on Decca/Penguin Classics). Beyond these are Karajan/Berliner Philharmoniker, Leonard Bernstein/New York Philharmonic, and Sir Adrian Boult's various recordings with different orchestras. I have heard none of these, but they are considered to be fine recordings of the suite.

I would write a lengthy review, but I will condense it down to a few key points. The overall recording quality is smooth, but dated and lacking in the high and low end. This is inconsistent with the wide, natural, and "flat" Telarc sound. Previn's interpretation of Jupiter is surprisingly disappointing. Its huge, majestic, inspiring, and stately themes were performed far too slowly and without the enthusiasm it so richly deserves! I have been fortunate enough to attend several concerts containing selections from The Planets, and I have yet to be disappointed; though the orchestras were below the musicianship and competence of the LSO. Again, Jupiter-the largest planet, the Bringer of Jollity, the lush, massive, and truly gorgeous themes (not to mention a large dose of goose bumps)... I sincerely cannot understand why this was performed at a mere 55% of this orchestra's ability! However, Mercury and Neptune are really quite enjoyable, which is why I give this recording a three star rating.

For a far more grand and faithful performance of the "heavier themes", I would suggest the LSO's performance conducted by Geoffrey Simon under the Delta Entertainment label. The recording quality is "good" (a bit too tweaked and brassy on high end reference systems), but Geoffrey exhibits a masterful interpretation... there are moments, the RIGHT moments, when this phenomenal orchestra is performing at 150% capacity during the truly dramatic phrases.

This was the first classical CD I ever purchased, as a starry-eyed 16-year-old wanna be astronaut more enamored with the space-scene cover and the CD's title than having any particular knowledge of its contents. I got lucky. I've been buying classical ever since.

But even a person with no particular fondness for classical will love this music. The sheer, raw, intense energy of Mars, the Elgarian styled central theme of Jupiter (think "Pomp & Circumstance", the graduation march, only a lot better). But best of all are the more mystic pieces: Venus, Neptune, Uranus. Whenever as a teenager my mind was not at ease I would listen to Venus and be calmed....OK, I'm getting campy here. But just to reassure you - I was NEVER a "Star Trek" fan.

One last word: while the Previn recording is awesome, I've heard that Adrian Boult's recording with the London Philharmonic is by far the best. Buy that one if you can. If not this one will serve quite well.

This album is part of the core of my collection. Holst's compositions here are complex and difficult to perform, and the Royal Philharmonic, combined with Previn's extreme skill, executes a very strong and tight performance. "Jupiter" especially requires precise tempo and orchestra coordination, and it's flawless. The fidelity of the recording is top-notch and I've always been willing to buy albums on the Telarc label just because of the quality they always have. If you liked the score from "The Right Stuff" this is the album you have to have -- Conti stole most of it from Holst!

Mars and Jupiter are part of our marching band show this year (yes, I'm only in high school). I have been a fan of classical for quite some time now, ever since I heard Pachelbel's Canon when I was eight years old. Anyway, I've been searching for a recording of The Planets for quite some time, but to no avail. I gave up a year or so ago. However, when our director announced that we would be playing the above-mentioned pieces as part of our show, it renewed a spark to find it. Eventually, I went here. I love the entire suite--Jupiter is so beautiful, as is Mercury. One of the best recordings of any piece I've ever heard.

This recording is, by far, the best recording of The Planets I have ever heard. The Chicago Symphony is great at caucaughony (ie, mvts i, iv, and v), but the Royal Philharmonic does a much better all around job on every movement. I recommend this recording to people of all musical experiences.

WOW! I have usually stayed with film music when it comes to collecting, but hearing the planets changed my mind. Never has their been music with such incredible description! Gustav Holst picked a name for each planet...and wrote an incredible piece that fits it's category. For example, I am going to have to say that Uranus is the best track of all the planets. It is named "The Magician", and believe me, every second that you spend listening to this track, you can picture it. Whatever you do, listen to the sound clip of Uranus. (and even then, they still don't have all the really good parts on it!) Other good tracks, which are also very popular, are "Jupiter" and "Mars". Jupiter is the bringer of jollity, so you can imagine what this one sounds like. Very happy and uplifting. Mars is the bringer of war, and believe it or not, Mars is what inspired John Williams to write the Imperial March. (You can really hear the parts in Mars where Williams got his ideas) For any orchestral nut, which I am proud to say that I am, "The Planets" just couldn't be better, and never will be beaten. I can't under-estimate the reallity and sound of "The Planets". Ever get the feeling where you have to keep restarting the track just to hear the music again? You will do that often, (which I do with Uranus) You just have to keep listening to it again and again till you finally have to go do something else. GET this one! THIS is your ticket to the best classical CD!