Gustav Holst - The Planets, Op. 36 / REMASTERED (Ct.rc.: Herbert von Karajan, Wiener Philharmoniker) 

Album available // Holst: The Planets, Op. 36 by Herbert von Karajan 🎧 Qobuz (Hi-Res) bit.ly/48ezIjP Tidal (Hi-Res) bit.ly/3dIzpr4 🎧 Deezer (Hi-Fi) bit.ly/3dNPUCs Amazon Music (Hi-Res) amzn.to/3wnRbsU 🎧 Spotify (mp3) spoti.fi/3OMOkjh RU-vid Music (mp4) bit.ly/3FT6yKQ 🎧 Pandora, Anghami, QQ音乐, LineMusic 日本… Gustav Holst (1874-1934) The Planets, Op. 36 by Herbert von Karajan / Remastered 00:00 I. Mars, the Bringer of War - The Planets, Op. 36 (Remastered 2022, Version 1961) 07:00 II. Venus, the Bringer of Peace - The Planets, Op. 36 (Remastered 2022, Version 1961) 15:19 III. Mercury, the Winged Messenger - The Planets, Op. 36 (Remastered 2022, Version 1961) 19:16 IV. Jupiter, the Bringer of Jollity - The Planets, Op. 36 (Remastered 2022, Version 1961) 26:51 V. Saturn, the Bringer of Old Age - The Planets, Op. 36 (Remastered 2022, Version 1961) 35:22 VI. Uranus, the Magician - The Planets, Op. 36 (Remastered 2022, Version 1961) 41:08 VII. Neptune, the Mystic - The Planets, Op. 36 (Remastered 2022, Version 1961) Wiener Philharmoniker Wiener Staatsopernchor Conductor: Herbert von Karajan Recorded in 1961 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr THE PLANETS, OP.36 I. Mars (Allegro) opens with an ominous rhythmic calm, the armies gather and the frenzy builds. When the force of the music is unleashed on the brass, its violence and brutality are of a kind previously unknown in English music, a rite not of spring but of Armageddon. Some effects never lose their power of surprise: the evil fanfare of the euphonium, for example, and the great discord that ends up temporarily halting the assault. A slower section is haunted by the martial rhythm; the allegro returns with heightened, almost hysterical ferocity, ending with grating chords. II. Venus (Adagio). A horn call is answered by flutes in that cool, high register that is a Holst trademark. "Rocking" chords for harps and strings establish a mood of distant calm. A key change to F sharp brings a melodic violin solo that is developed by the strings against woodwind chords. An exquisite oboe solo brings a human warmth to the scene. It is repeated by other woodwinds and strings before the rocking chords return and the movement ends with a pattern of exquisite sounds from celesta, horns, harps and winds. III. Mercury (Vivace) is a scherzo, 'fleet of foot' and requiring a very deft and alert staccato played by strings and woodwind. The trio section suggests that this particular winged messenger carries a message from Scheherazade. IV. Jupiter (Allegro giocoso) brings its gaiety in C major. This is the most popular movement in every sense of the word. Its jovial opening and the cooing dance tune of the horns suggest to many ears a typically English scene, but there is also, it seems to me, a flavor of Spanish caprice. The great central aria (andante maestoso) has an Elgarian solemnity, but it is noteworthy that in the coda, when it struggles in the bass to regain the ascendancy, it is overwhelmed by festive superficialities. V. Saturn (Adagio) was the composer's favorite and, along with Mars, is the most original movement. One can almost feel the pain of Holst's neuritis in the first 26 bars, when the flutes and harps slowly intone two syncopated chords under which, in the double basses, a theme emerges with a shuddering menace. A majestic march for trombones with pizzicato accompaniment leads to an adagio for four flutes that begins a long crescendo, culminating in a clang of bells as the brass intones the main (bass) theme. The coda is mysteriously subdued, a mosaic of chimes and ripples. VI. Uranus (Allegro). The trumpets and trombones pronounce a spell and trigger the usual musical apparatus of magic and fright - staccato bassoons, xylophone and tuba. This sorcerer is a close relative of Dukas's apprentice, and his family tree goes back to Berlioz's witches. He also has a kind of regimented march with accents that his own apprentices threaten to take over until he stops them with a C chord and organ glissando. VII. Neptune (Andante). This pianissimo finale is very delicately scored. Musically, it falls within the orbit of Ravel and Ravel-influenced parts of Vaughan Williams, which may explain why VW admired it and felt its quiet power so intensely. It is constructed of fragments that coalesce into one long, indeterminate melody. Toward the end, the wordless vocals of the female voices blend into the texture (and pose difficult intonation problems). The fading voices are the last sounds to reach us from that distant planet, but the chords they sing resonate in many later works. Richard Strauss (1864-1949) Also sprach Zarathustra, Op. 30 by H.V. Karajan 🎧 Qobuz bit.ly/3qN3SIc Tidal bit.ly/3tSxhD3 🎧 Spotify spoti.fi/358dZPu RU-vid Music bit.ly/3rNBSU2 🎧 Apple Music - Amazon Music amzn.to/3Arkfxm 🎧 Deezer bit.ly/3g8E0Rf Amazon Store amzn.to/3qXkkWF 🎧 Napster bit.ly/3fTt4Xi Soundcloud bit.ly/3488iRm 🎧 LineMusic日本 bit.ly/3488Wyg Awa日本 mf.awa.fm/342l7wv

This never gets old.

Great! I purchased this LP (Long Play vinyl disc) about 50 years ago.

NO ONE does this piece like Herbert von Karajan! He infuses a special something into this work that no other conductor can.

Wunderschöne und spannende Interpretation dieser spätromantischen und perfekt komponierten Suite mit seidigen Tönen aller Streicher, milden Tönen aller Holzbläser und vor allem brillanten Tönen aller Blechbläser. Der vierte Satz klingt besonders schön und echt majestätisch. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester in verschiedenen Tempi und mit möglichst effektiver Dynamik. Zweifellos eine der zehn besten Aufführungen dieses Meisterwerks im 20. Jahrhundert!

A great recording. This period of Von Karajan and the VPO produced landmark recordings.

THE PLANETS, OP.36 I. Mars (Allegro) opens with an ominous rhythmic calm, the armies gather and the frenzy builds. When the force of the music is unleashed on the brass, its violence and brutality are of a kind previously unknown in English music, a rite not of spring but of Armageddon. Some effects never lose their power of surprise: the evil fanfare of the euphonium, for example, and the great discord that ends up temporarily halting the assault. A slower section is haunted by the martial rhythm; the allegro returns with heightened, almost hysterical ferocity, ending with grating chords. II. Venus (Adagio). A horn call is answered by flutes in that cool, high register that is a Holst trademark. "Rocking" chords for harps and strings establish a mood of distant calm. A key change to F sharp brings a melodic violin solo that is developed by the strings against woodwind chords. An exquisite oboe solo brings a human warmth to the scene. It is repeated by other woodwinds and strings before the rocking chords return and the movement ends with a pattern of exquisite sounds from celesta, horns, harps and winds. III. Mercury (Vivace) is a scherzo, 'fleet of foot' and requiring a very deft and alert staccato played by strings and woodwind. The trio section suggests that this particular winged messenger carries a message from Scheherazade. IV. Jupiter (Allegro giocoso) brings its gaiety in C major. This is the most popular movement in every sense of the word. Its jovial opening and the cooing dance tune of the horns suggest to many ears a typically English scene, but there is also, it seems to me, a flavor of Spanish caprice. The great central aria (andante maestoso) has an Elgarian solemnity, but it is noteworthy that in the coda, when it struggles in the bass to regain the ascendancy, it is overwhelmed by festive superficialities. V. Saturn (Adagio) was the composer's favorite and, along with Mars, is the most original movement. One can almost feel the pain of Holst's neuritis in the first 26 bars, when the flutes and harps slowly intone two syncopated chords under which, in the double basses, a theme emerges with a shuddering menace. A majestic march for trombones with pizzicato accompaniment leads to an adagio for four flutes that begins a long crescendo, culminating in a clang of bells as the brass intones the main (bass) theme. The coda is mysteriously subdued, a mosaic of chimes and ripples. VI. Uranus (Allegro). The trumpets and trombones pronounce a spell and trigger the usual musical apparatus of magic and fright - staccato bassoons, xylophone and tuba. This sorcerer is a close relative of Dukas's apprentice, and his family tree goes back to Berlioz's witches. He also has a kind of regimented march with accents that his own apprentices threaten to take over until he stops them with a C chord and organ glissando. VII. Neptune (Andante). This pianissimo finale is very delicately scored. Musically, it falls within the orbit of Ravel and Ravel-influenced parts of Vaughan Williams, which may explain why VW admired it and felt its quiet power so intensely. It is constructed of fragments that coalesce into one long, indeterminate melody. Toward the end, the wordless vocals of the female voices blend into the texture (and pose difficult intonation problems). The fading voices are the last sounds to reach us from that distant planet, but the chords they sing resonate in many later works. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

I purchased this CD about 35 years ago and for almost a full year, I listened to it virtually every day. I have many more classical cds in my collection now, but this one, this particular version...even with the sound of traffic passing by outside,... remains my favorite.

One of the darkest and most underrated recording of this masterpiece.

Always been one of my favorite pieces!... next to Alan Hovhaness's "Celestial Gate" as well.

This is one of the best musical pieces in the history of music, written by a composer who doesn't get enough credit. Although he didn't write many masterpieces like this one, but one is also enough.

Wonderful. Thank-You for this.

Definitive playing from VPO. My favorite planets

33:40 after all that obscure and psychotic atmosphere, this moment is incredibly.... I just can't find the right words to describe what it makes me feel.... it's so beautiful, it's like finding peace in the after life... 34:20 that strings just go through all my existence

Mars with its Relentless pounding of the Percussion in 5/8 time is epic!

Astonishing!!

Awesome! simply awesome!!

Amazing

Bravo!

This heroic performance is the cat ’s pajamas

Now we know were John Williams got his film music from.

It really is thrilling music!

precioso

listening to this renowned work, where the imperialistic airs of British snobbish self-assuredness pervade, conducted by a German maestro and performed by a excellent Austrian orchestra, elicits a certain sense of delight.

危なっかしい箇所も見られますが、それを差し引いても名演奏には変わりありません、この録音がなければ「惑星」が重要オーケストラピースになることはなかったでしょう。 数少ない歴史的な一枚だと思います。

Jupiter is the best!

There are many recorded performances of The Planets with more sonic depth, better recorded sound, better intonation, and a tighter overall ensemble, but of the numerous recordings I have of this piece, this has always been my favorite. Sure, there's some clams in a few places, von Karajan often ignores Holst's dynamics, and near the end of 'Mars' the orchestra gets away from him for several bars, but there is more raw power packed into that performance than any other I know. Despite all the flaws, I still find it convincing.

Might be my favorite rendition of Saturn.

41:10 Im Weltraum hört dich niemand schreien!

22:07

Commercials hurt the enjoyment of the performance

stg pepper slept well later that evening

It's Op. 36 or Op. 32 please?

I WISH THE QUIETER SECTIONS WERE RAISED SOMEWHAT. THOSE DAM ADVERTS SUDDENLY SPRING OUT WITHOUT WARNING A DEAFEN ME.

Eat your hearts out vK haters, this was Holst's favourite recording. vK's Saturn with the BPO in a later recording is one of the greatest performances of anything on record. AND, I many add, it wouldn't have been too long after this that some poindexter-pencil neck-balloon head at Decca decided to give Bohm the credit for 2001, instead of Karajan, causing vK to turn his back for good on Decca, the result of this was we were left without that brillian Decca sound for future vK recordings. As a Canadian this was a critical issue for me as a music lover/collector. The Canadian pressings of DGG and EMI (Angel) were garbage LPs. Hiss, mush, no bass and awful midrange. When heard on a clean pressing, the clarity and the sound of orchestral balance was there. It was frustrating times in the 60s and 70s for a teen/young adult looking for great records.

Opus number is 32, not 36.

With all due respect, I think that Karajan's "Mars" is like an "Allegro non troppo". I'd rather Steinberg's Mars, really an "Allegro" IMHO

I always think of star wars when I listen to Mars the bringer of war. Especially the music for the evil Empire. When the mars music starts you can practically see an imperial star destroying flying over the top of you. Of course this is completely the wrong way around but star wars came out in 1977 and at the time I was not aware of the wonderful music of Holst. I do not claim either that John Williams has done something wrong and sinister in being influenced by him. I think also what Holst does is make a terrifying comment on the ghastly appeal of war on the male ego. The false souless charisma of war. Ultimately of course it is a deeply pathetic form of macho. The really mature human beings are too busy building bridges and being forgiving to be swept up by the god of war.

Nazidyrygent-fajnie.