Gustav Holst Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite The Planets, he composed a large number of other works across a range of genres, although none achieved comparable success.

Gustav Holst His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop and refine an individual style.

Holst 1 st Suite in E-Flat Although completed in 1909, the suite didn't receive its official premiere until 11 years later on June 23rd, 1920, by an ensemble of 165 musicians at the Royal Military School of Music at Kneller Hall. However, the work was originally conceived to be performed by ensembles significantly smaller than the one at Kneller Hall. During this time period there was no standardized instrumentation among the hundreds of British military bands of the day, and as a result no significant literature had been previously written for the band medium; most British bands up to then performed arrangements of popular orchestral pieces.

Holst 1 st Suite in E-Flat In order to ensure the suite would be accessible to as many bands as possible, Holst ingeniously scored the work so that it could be played by a minimum of 19 musicians, with 16 additional parts that could be added or removed without compromising the integrity of the work.

Holst 1 st Suite in E-Flat There are three movements in the suite: Chaconne, Intermezzo, and March. Holst writes, “As each movement is founded on the same phrase, it is requested that the suite be played right through without a break.” Indeed, the first three notes of the Chaconne are Eb, F and C, and the first three notes of the melody when it first appears in the Intermezzo are Eb, F, and C. In the third movement, March, Holst inverts the motive: The first note heard in the brilliant opening brass medley is an Eb, but instead of rising, it descends to a D, and then a G; the exact opposite of the first two movements.

Holst 1 st Suite in E-Flat The Chaconne begins with a ground bass reminiscent of those written by Henry Purcell or William Byrd. It is performed by tuba, euphonium and string bass and is repeated throughout the ensemble sixteen full times as varying instrumental textures and variations of the theme are layered within it. Following a delicately scored chamber setting of the theme, the music steadily builds to a brilliant Eb Major chord that concludes the movement.

Holst 1 st Suite in E-Flat The Intermezzo is light and brisk and features soloistic passages for the cornet, oboe and clarinet. Holst prominently displays the agility and sensitivity of the wind band through transparent textures and passages where the melody and accompaniment are woven into a variety of instrumental settings.

Holst 1 st Suite in E-Flat The March begins suddenly. It consists of two themes, the first of which, performed by brass choir and percussion, is a march light in character. The second theme is dominated by the woodwinds and is composed of a long, lyrical line reminiscent of the original Chaconne melody. The movement concludes with both themes intertwining as the band crescendos to a climax.

Holst 1 st Suite in E-Flat Gustav Holst, of Scandinavian ancestry on his father's side, was born in the English spa town of Cheltenham in 1874 and studied music at the Royal College in London. A formidable trombonist, he spent time performing with the Scottish Symphony and various seaside bands. He later became director of music at St. Paul's Girls' School, retaining this connection until the end of his life. Holst wrote a number of works for the theatre, their subjects reflecting his varied interests, from Hindu mythology to Shakespeare and the medieval world of the Wandering Scholar

Holst 1 st Suite in E-Flat He also composed a considerable amount of choral music, accompanied and unaccompanied, including arrangements of folk songs, and a smaller number of solo songs. His most famous instrumental work is The Planets, but he is also fondly remembered for his St. Paul’s Suite for string orchestra, the two suites for military band, and Hammersmith, based on the district of London bearing the works name.

Artistic Ethics I will respect my audience regardless of size or station.

Artistic Ethics The Show Must Go On! I will never miss a performance.

Artistic Ethics I shall play every performance to the best of my ability, regardless of how small my role or large my personal problems.

Artistic Ethics I shall never miss an entrance by my failure to be ready.

Artistic Ethics I shall forego all social activities which interfere with rehearsals and always be on time.

Artistic Ethics I shall never leave until I have completed my performance.

Artistic Ethics I shall accept the director’s advice in the spirit in which it is given for he sees the production as a whole and my role as a portion thereof.

Artistic Ethics I shall respect the music and the composer, remembering that “A work of art is not a work of art until it is finished.”

Artistic Ethics I shall direct my efforts in such a manner that when I leave this organization it will stand as a greater institution for my having labored there.