Man set foot on the lunar surface fifty years ago, thus adding tangible value to extraterrestrial space. Yet the universe of planets, stars, galaxies, and intangible proportions has remained mysterious and continues to inspire science, spirit, and the arts alike. Since the Copernican revolution in the mid-16th century, astrological knowledge had fallen into disrepute. However, a revival took place at the end of the 19th century. By 1914, Gustav Holst became fascinated by this worldview, which associates the planets of the solar system with distinct aspects of human personality, dedicating an orchestral piece to each. Thus was born the orchestral suite The Planets.
**
The Planets is Gustav Holst’s best-known composition. Written between 1914 and 1916, it comprises seven movements named after the planets of the solar system, excluding Earth. The suite expressed the English composer’s fascination with astrology. Indeed, in the last decades of the 19th century, various mystical currents emerged as alternatives to Darwinism and the empiricism of science. Ancient theories centered on the divine dimension of human existence and on hidden aspects of nature were revived. There also arose a new interest in non-European cultures—especially, for England, those focused on India.
For Holst, this interest in astrology was primarily motivated by a quest for self-knowledge—his sacred ideals were related to Buddhism. It was also fueled by personal connections with figures linked to Theosophy and occultism. These contacts introduced him to The Art of Synthesis by Alan Leo, one of the pioneers of modern astrology. Published in 1912, the book devotes a chapter to each planet, outlining the human behavioral traits associated with them. This was precisely the model Holst adopted, to the extent that some of the titles match those in the score, as does the order of the suite’s last four movements.
Musically, the work resembles an illustrated book. Mars represents masculinity, courage, and the impulse to war. Through music, a warrior’s imagination is “painted” with orchestral resources that have since become sound archetypes of action cinema. Venus offers a feminine universe, immersed in tranquility, tenderness, and delicacy. These are bucolic landscapes breathing peace and reverence for nature. Next, Mercury exalts liveliness and joy of life, with enthusiasm and readiness. In Jupiter, an affirmative and solemn spirit emerges in a discourse marked by hope and glimpses of epic resolutions. Arriving at Saturn, we find melancholy and deep despair. The melody stretches through time, reflecting fatigue and resignation. Like a Phoenix rising from the ashes, the flamboyant fantasy of Uranus blooms with orchestral refinements that keep us suspended in an imaginary narrative. Finally, the curtain falls under Neptune’s aegis, hovering in the mystery of a space that transcends us immeasurably. The suggestion of adventure in exploring the unknown ends with a question mark pointing to humanity’s future. The human voice, with the presence of the choir, glorifies this celestial dimension.
Rui Campos Leitão