Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound — after the initial 1918 run-through, Holst's daughter Imogen ( in addition to watching the charwomen dancing in the aisles during " Jupiter ") remarked that the ending was " unforgettable, with its hidden chorus of women's voices growing fainter and fainter ... until the imagination knew no difference between sound and silence ".

Dedicated to the late Imogen Holst, Gustav Holst's daughter, it was first performed in Manchester on 11 May 2000, with Kent Nagano conducting the Hallé Orchestra.

Although commonplace today, the effect bewitched audiences in the era before widespread recorded sound — after the initial 1918 run-through, Holst's daughter Imogen ( in addition to watching the charwomen dancing in the aisles during " Jupiter ") remarked that the ending was " unforgettable, with its hidden chorus of women's voices growing fainter and fainter ... until the imagination knew no difference between sound and silence ".

* Photos of Imogen Holst's grave

* April 3-Gustav Holst's opera At the Boar's Head is premiered in Manchester.

* The music playing when Lisa is in the museum and first develops her inspiration for astronomy is Jupiter from Gustav Holst's The Planets Suite.

Holst's great-grandfather, Matthias von Holst, was of Nordic origin, and came to England in 1802 from Riga, Latvia.

Holst's father, Adolph von Holst, was organist and choirmaster at All Saints ' Church in Pittville.

Holst's mother, Clara Cox von Holst ( née Lediard ), who died in 1882, was a singer and pianist who bore two sons, Gustav and Emil Gottfried ( who later became Ernest Cossart, a film actor in Hollywood ).

Vaughan Williams's own music was in general quite different from Holst ’ s, but he praised Holst's work abundantly and the two men developed a shared interest in exploring and maintaining the English vocal and choral tradition as found primarily in folk song, madrigals and church music.

The music was cheap and repetitive and not to Holst's liking, and he referred to this kind of work as " worming " ( a pun on Wurm's name, which means " worm " in German ) and regarded it as " criminal ".

Holst's view was that Noel's philosophy was a " gospel of comic hate ", but he ceased to hold the music festival at Thaxted after three seasons, moving it to Dulwich.

Holst's ' retirement ' was immediately productive, with the First Choral Symphony to words by Keats ( a Second Choral Symphony to words by George Meredith exists only in fragments ).

The premiere was at the Queen's Hall on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people.

Holst's use of orchestration was very imaginative and colourful, showing the influence of Arnold Schoenberg and other continental composers of the day rather than his English predecessors.

The orchestral premiere of The Planets suite, conducted at Holst's request by Adrian Boult, was held at short notice on 29 September 1918, during the last weeks of World War I, in the Queen's Hall with the financial support of Holst's friend and fellow composer H. Balfour Gardiner It was hastily rehearsed ; the musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for " Neptune " was recruited from pupils from St Paul's Girls ' School ( where Holst taught ).

Holst's original title ( clearly seen on the handwritten full score ) was " Seven Pieces for Large Orchestra ".

Pluto was discovered in 1930, four years before Holst's death, and was hailed by astronomers as the ninth planet.

* Piano duet ( four hands ) – An engraved copy of Holst's own piano duet arrangement was found by John York.

Dave Edmunds ' band Love Sculpture included the Mars movement on their 1970 album " Forms and Feelings ," though this was only included in the U. S. version of the album due to Holst's family preventing worldwide release of the track.

Permission to use pieces was sometimes denied by the composer's family or estate, as for instance with Gustav Holst's Mars, the Bringer of War.

Meyer's original plan for the score was to adapt Gustav Holst's orchestral suite The Planets.

Some of the most notable of these pieces are Holst's First Suite in E-flat and Second Suite in F, and Grainger's Children's March and Lincolnshire Posy among others.

) As late as 1951 at the Leith Hill Festival, singers from the Anglican tradition objected to the words of Holst's partsong, which mention dance and religion together.

Holst's music is well known for unconventional use of metre and haunting melodies.

On it are inscribed Holst's dates, and an epitaph, taken from the text of The Hymn of Jesus, reading " The heavenly spheres make music for us ".

Music which employs singing but does not feature it prominently is generally considered instrumental music ( e. g. the wordless women's choir in the final movement of Holst's The Planets ) as is music without singing.

These included Phase 4 Stereo recordings of Gustav Holst's The Planets and Charles Ives's 2nd Symphony, as well as an album entitled " The Impressionists " ( music by Satie, Debussy, Ravel, Fauré and Honegger ) and another entitled " The Four Faces of Jazz " ( works by Weill, Gershwin, Stravinsky and Milhaud ).

The music includes Holst's theme as well as original material by Stroope.

Mann's interest in English 20th century classical music saw him adapt Gustav Holst's Planets Suite, garnering an unlikely UK hit with a version of the " Jupiter " movement, with lyrics added, entitled Joybringer ( included on the 1973 album Solar Fire ).

The theme music used was " Mars, Bringer of War " from Gustav Holst's The Planets.

* On the DVD Menu, the music played in the background involves themes from Gustav Holst's Jupiter from The Planets Suite.

Gustav Holst's " Neptune, the mystic ", part of the orchestral suite The Planets written between 1914 and 1916, is an early example of music to have a fade-out ending during performance.

The music in the introduction of the film is from Gustav Holst's ' The Planets-Mars the bringer '

According to one of Holst's friends, the same apartment building where he was found dead also housed a MI6 apartment, implying that Holst was trying to reach one of his contacts.

This was intended as both a tribute to the memory of Holst and a commemoration of his birth, and the intention in performance terms was as a work to be played in the same programme as Holst's " Planets " suite-the orchestration is the same, except that no vocal forces are used.

The U. S. version of the album also featured a recording of " Mars " from Gustav Holst's The Planets, but Holst's estate refused to license the tune for the U. K. version.

* Venus, the Bringer of Peace, from Gustav Holst's The Planets

A typical performance of all seven movements lasts for about fifty minutes though Holst's own electric recording from 1926 lasted just over forty-two and a half minutes.

A well-known use of col legno for orchestral strings is the Gustav Holst's " Mars " movement from The Planets suite.

Col legno is used in the final movement of the Piano Concerto No. 2 by Frédéric Chopin, which predates the more famous use in the " Dream of Witches ' Sabbath ", in the final movement of Berlioz's Symphonie Fantastique, in the score of the film Alien by Jerry Goldsmith, as well as in " Mars, the Bringer of War " from Holst's The Planets, the first movement of Mahler's Symphony No. 2, and Mussorgsky's Night on Bald Mountain.

Also, from October 1969 to the song's last performance in May 1975 at the Earl's court shows, the violin solo and the solo section after would incorporate " Mars " from Gustav Holst's suite The Planets, accompanied by Plant's vocalisations.

:: Stage 5: Violin bow episode including echo-slapping from the guitar ; interlude with Plant's ' instrumental voice '; Gustav Holst's Mars, the Bringer of War and return of the rhythm section

The Air Force Song and " Jupiter " from Gustav Holst's orchestral suite The Planets are also included, based on their use in The Right Stuff.

The intro of " Prelude to Madness " features keyboards and guitar playing " Mars, the Bringer of War " from Gustav Holst's suite, The Planets.

The longest track on the album is a chaotic instrumental piece called " The Devil ’ s Triangle ", which was built around quotations from Gustav Holst's " Mars: Bringer of War " from his The Planets Suite.

The most obvious is the use of " Jupiter " from Holst's The Planets in Masques " Joybringer ".