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

Holst's original manuscripts for it are now in the holdings of the Royal College of Music (" Mars ", " Venus ", " Saturn ", " Uranus ", " Neptune "), Royal Academy of Music (" Mercury ") and British Library (" Jupiter ", " Saturn ", " Uranus ").

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.

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 ".

During the years 1920 – 1923, Holst's popularity grew through the success of The Planets and The Hymn of Jesus ( 1917 ) ( based on the Apocryphal gospels ), and the publication of a new opera, The Perfect Fool ( a satire of a work by Wagner ).

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.

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 inscription on Boult's score

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.

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.

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 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.

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 ).

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

Leo's book The Art of Synthesis ( 1912 ) was a probable influence on Gustav Holst's work The Planets.

However, the airing of the program was halted in March 1972, with a final Young People's Concert concentrating on Gustav Holst's The Planets.

A full season with Bromley Symphony of Elgar's Second, Bruckner Seventh, Tchaikovsky Fourth and Holst's ' The Planets ' was performed.

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.

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 ).

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.

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 ".

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.

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.

* 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 ".

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.

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.