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

Consequently, Holst's original work is once again a complete representation of all of the extraterrestrial planets in the Solar System.

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

Among English composers of the early-20th century there was some vogue for the use of a " bass oboe ", for example in Gustav Holst's orchestral suite The Planets ( 1916 ), as well as in several works of Frederick Delius ( A Mass of Life, 1904-1905 ; Dance Rhapsody No. 1, 1908 ), Arnold Bax's Symphony No. 1 ( 1921 ), Havergal Brian's Gothic Symphony ( 1919-1927 ) and Symphony No. 4 ( Das Siegeslied ), and supposedly in the original instrumentation of Ralph Vaughan Williams ' A London Symphony ( 1912-1913 ).

The first notable and influential original symphonic work for band was Gustav Holst's First Suite in E-Flat, written in 1909.

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

Nixa also made original recordings in England at the Walthamstow Assembly Hall of Sir Adrian Boult conducting Holst's The Planets Suite, Vaughan Williams English Folksongs Suite, and others.

* Gustav Holst's Fugal Concerto for flute, oboe and string orchestra

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

Holst's compositions include works for wind band, and have become standards in the repertoire.

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 ".

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 ).

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.

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.

It made its first domestic tour in 1882, introduced educational concerts for young people in 1891, and gave the premieres of works such as Gershwin's Concerto in F and Holst's Egdon Heath.

The editor of the new ( 1926 ) edition of Songs of Praise was Holst's close friend Ralph Vaughan Williams, which may have provided the stimulus for producing the hymn.

Prior to the mid-20th century, the term " bass flute " was sometimes used, especially in Great Britain, to refer to the alto flute instead ( for example: the part for " bass flute in G " in Gustav Holst's The Planets ).

* 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.

The poem was also the inspiration for Gustav Holst's ' The Cloud Messenger Op.

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.

The year 2000 saw four major premières: Two Tributes for the London Sinfonietta ; Pluto, an addition to Holst's Planets, for the Hallé Orchestra and Kent Nagano, already widely performed ; Aftertones, for the Huddersfield Choral Society ; and Continuum, a large-scale work for soprano and ensemble commissioned by the Birmingham Contemporary Music Group for Cynthia Clarey and Simon Rattle, with performances in London, Cologne, Brussels, Amsterdam, Vienna and Birmingham.

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.

Von Holst's works are almost all on American topics.

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.

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.

Some of the songs are Elvis Presley records, while other parts of the soundtrack seems to be inspired by Gustav Holst's " The planets ".

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.

With composer Colin Matthews she edited scholarly editions of her father's works ( including four volumes of facsimiles ) and compiled A Thematic Catalogue of Gustav Holst's Music ( 1974 ).

* " Mars, the Bringer of War ", a movement in Holst's The Planets

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.

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

It was also loosely inspired by " Mars, the Bringer of War " from Gustav Holst's The Planets.

* " Mercury, the Winged Messenger ", a movement in Gustav Holst's The Planets

The euphonium is featured in a few late Romantic and 20th century works, usually playing parts marked " tenor tuba ", including Gustav Holst's The Planets, and Richard Strauss's Ein Heldenleben.

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.

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 Hymn of Jesus: Holst's Gnostic Exploration of Time and Space ", July 1999