BY WENDY ZHANG
Holst’s Planets
Sydney Symphony Orchestra
27 September 2019, Sydney Opera House
Gustav Holst wrote The Planets (Opus 32) between 1914 and 1917, and as Natalie Shea described in an informative pre-concert talk, the work received negative feedback and reviews at its first public performance. Considered very radical music at the time, little did the composer know that this would become one of the most influential musical pieces in the 20th Century, with its melodies widely used and adapted for mainstream films, video games, international sporting events and even royal weddings.
It was a pleasure to listen to this complete seven-movement orchestral suite conducted by Vladimir Ashkenazy at the Sydney Opera House. A full orchestra with more than 100 musicians appeared on stage to perform this piece, together with members from the Sydney Philharmonia Choirs, providing a truly transcendent and uplifting experience for the audience.
Russian pianist Alexei Volodin performed Nicolai Medtner’s Piano Concerto No. 1 in the first half of the concert. Volodin’s opening was strong, powerful, and provocative, complete with fast-running octaves. The first movement (Allegro) was an intense section, yet Volodin maintained the power and clarity of sound and led the orchestra with dominance. In the second movement (Tranquillo, meditamente), Volodin played an impressive solo, as he ascended and descended the keyboard with crystal-like scales. The cello playing was particularly beautiful, while the duet between flute and piano was pleasant – like questions and answers. The third movement (Temple I) showcased Volodin’s technical brilliance, as he led the orchestra with confidence, highlighted by the racing double octaves.
In the second half of the concert, the orchestra was noticeably bigger, with two harps, an organ, and much larger strings, brass, and woodwind sections. Ashkenazy walked onto the stage, and without hesitation, led the orchestra to start the first movement – Mars, the Bringer of War.
It was exciting to hear this ‘monster’ music, written in 5/4, played with col legno in unison by an unusually large strings family on stage. Have you heard of a piece composed in 5/4? If not, can you imagine what it would sound like? Well, it definitely sounded unnatural and daunting to me, like an alien troop was approaching. The music was intense, dark, in sync, and energising. The drums were widely used, which intensified the ‘monster is coming’ atmosphere.
The next movement, Venus, the Bringer of Peace, provided a surprising contrast to Mars. The flutes opened with a harmonious melody, followed by the celestial sound of harps, organ, and celesta played together. This combination provided an exquisite backdrop and support to the orchestra.
Jupiter, the Bringer of Jollity, opened with a powerful start as the whole strings section played in unison, accompanied by the percussion instruments (triangle, bells, and drums, in particular). And then, the familiar melody of the well-known hymn ‘I vow to thee, my country’ started, and I couldn’t stop smiling. An emotional and expressive playing by the violins, cellos, and double basses which was pleasing to the ears. I also particularly enjoyed the use of percussion instruments – gongs, triangles, bells, timpani, celesta and drums, which added to the serene and majestic atmosphere.
Saturn, the Bringer of Old Age was my personal favourite of the suite. Double basses started with eerie, gloomy music. The plucking of strings by the cellos and double basses sounded like tick tocks of the clock, indicating the passing of time and inevitability of old age and death. The sound of celesta reminded me of church bells, which, in contrast with the very loud strings chords, perhaps suggest that we were all scared of the old age and ultimately, death, but cannot do anything to avoid it. With a sudden change of music, the harps played a peaceful melody, followed by the same melody by the double basses, again creating a nice contrast and perhaps hinting that one would be content with their old age (sound of double basses) only if they get to live their lives to the full when they were young (sound of harps).
Nepture, the Mystic of Music, reminded me of the music in the Harry Potter movies – perhaps it influenced John Williams’ score. The opening harps and organ created a mysterious atmosphere. The orchestra was joined by the Sydney Philharmonia Choirs backstage: it was interesting that the choir members were not on the stage (as the stage was full) but standing outside the concert hall. The choir’s conductor stood at the entranceway, keeping an eye on what Ashkenazy and the orchestra were doing on stage. This weird setup did not interfere with the performance of the choirs – they sang expressively and very in sync with the orchestra, so much so that you would never know they were not in the same room, just by listening.
Throughout the performances, Ashkenazy was brief and precise in his conducting, sometimes drawing circles with his left hand. He was almost like a magician, working his ways to bring together the 100 orchestra members on stage and choir members off the stage, to perform this legendary piece. Overall, a night to remember.
Image supplied. Vladimir Ashkenazy captured by Keith Saunders.
