Gustav Theodore Holst,
September 21st, 1874,
For over 50 years now, the composer John Williams has provided the soundtrack to not only just about every great movie ever released but to the lives of generations of people. Even now, I find it hard, on hearing the theme from Raiders of the Lost Ark, to resist the urge to start digging through a Mayan temple, release the hidden power of the Ark of the Covenant and smack a few Nazis in the teeth. One of the reasons I do what I do now is because Raiders and John Williams' score is so intertwined with that movie that one of the reasons I do what I do now is John Williams. It's difficult to imagine the modern cinema landscape without him. Jaws would certainly be a different movie. Can we imagine a single Star Wars movie without the Imperial March, sometimes known as the Darth Vader Theme? You don't have to imagine a single Star Wars movie without it, of course, because it doesn't appear in the first one; it was written for Empire Strikes Back.
It's no secret that the Imperial March took its stylistic influences from Chopin's Marche funèbre and English composer Gustav Holst's Opus 32, The Planets, written between 1914 and 1917, and it's satisfying to think that, however unlikely it might have been, there was a time in the 1930s when Gustav Holst and John Williams could have met each other.
Gustav Holst, born on September 21, 1874, in Cheltenham, England, was a composer who left an indelible mark on 20th-century music. Known for his eclectic influences and unique compositional style, Holst’s legacy is best epitomized by his orchestral suite The Planets, though his contributions extend far beyond this celebrated work. Holst was of Swedish and English descent, with a family that had deep musical roots; his father, Adolph von Holst, was a professional musician, and his mother, Clara, a talented singer.
From a young age, Holst struggled with various health issues, including neuritis, which affected his right hand, asthma, and chronic digestion problems that would plague him throughout his life. Despite these challenges, he pursued a musical career, starting with lessons in piano, violin, and trombone. His education took him to the Royal College of Music in 1893, where he was taught by Sir Charles Villiers Stanford. Holst’s time at the College was transformative but financially strenuous, often pushing him to work in various musical roles, including as an organist and choirmaster at Wyck Rissington and later as a rehearsal pianist with the Carl Rosa Opera Company.
Holst’s musical style was a melting pot of English folk music, Romanticism, and various international influences, particularly the works of Ravel, Stravinsky, and Wagner. His friendship with fellow composer Ralph Vaughan Williams was instrumental, both exchanging ideas that significantly shaped their respective works. Holst’s blend of accessible, lyrical melodies with complex and sometimes unconventional harmonies marked his distinct voice in the music world.
Teaching played a significant role in Holst’s life, perhaps as much as composing. In 1905, he took up the role of Director of Music at St Paul’s Girls’ School in Hammersmith, a position he would hold until his death. Holst was known for his innovative teaching methods, encouraging his students to explore new music and think beyond traditional norms. His influence in education also extended to Morley College, where he revitalized the institution’s music program.
Holst's health issues continued to shape his career choices, limiting his physical performance capabilities. He turned to composition and teaching as his primary outlets, producing works that ranged from orchestral and choral pieces to music for military and brass bands. Among his notable works are the First Suite in E-flat (1909) and Second Suite in F (1911) for military band, which remain staples in wind band repertoires today. His contribution to the brass band genre, particularly with A Moorside Suite (1928), further cemented his status as a foundational figure in the development of wind music.
Holst’s best-known work, The Planets, composed between 1914 and 1916, is a seven-movement orchestral suite that captures the astrological characters of the planets of the solar system. Contrary to popular belief, the suite is not based on the Roman gods but rather on astrological ideas. Holst was influenced by the 19th-century astrologer Raphael, whose book about the planets' impact on world affairs inspired Holst's vision of the planets as cosmic influencers of destiny and human spirit. This fascination with astrology provided a thematic backbone that made The Planets both mystically compelling and musically innovative, exploring not just orchestral colour but emotional breadth—from the brutal and martial “Mars, the Bringer of War” to the serene and transcendent “Neptune, the Mystic.”
Holst's distaste for the limelight often led him to underplay his success. He was notably uncomfortable with fame, shunning interviews, public appearances, and requests for autographs. His humility extended to his evaluation of The Planets; he often expressed frustration that this work overshadowed his other compositions, many of which he felt were more musically substantial.
Holst’s personal life was marked by simplicity and introspection. He married Emily Harrison, a fellow music enthusiast, in 1901, and the couple had one daughter, Imogen Holst, who would later become an accomplished composer and conductor in her own right. Holst was known to be a vegetarian and maintained a lifestyle that focused on health and creativity, avoiding the public eye as much as possible.
Throughout the 1920s and early 1930s, Holst continued to compose, albeit at a slower pace due to his deteriorating health. In 1933, he began suffering from severe stomach issues, which eventually required surgery. Holst passed away from complications related to this surgery on May 25, 1934, in London. He was buried at Chichester Cathedral in West Sussex, an honour reflecting his enduring impact on English music.
Holst’s legacy lives on, not just through The Planets but through his influence on English music education, his development of wind band music, and his innovative blending of international influences with distinctly English sounds. Though he often felt overshadowed by his most famous work, Holst’s diverse body of compositions and his commitment to musical exploration have secured his place as one of the most distinctive voices of his time.
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