The Planets, Op. 32 - II. Venus, the Bringer of Peace - Gustav Holst

Gustav Holst wrote a series of seven orchestral tone poems for each of the planets. Venus, the Bringer of Peace, second in the series is scored for four flutes, three oboes, english horn, three clarinets in Bb, bass clarinet in Bb, three bassoons, contrabassoon, six horns, glockenspiel, celesta, two harps, and strings.

This discussion will focus on the string parts. The first entrance of the strings is in m. 10 with the cellos and basses. The lead up to a pedal tone Bb that sustains until m. 15 where they change pitches downward, B double flat, Ab, G, and then F on the downbeat of m. 18. The low range used during this section provides a foundation for the section.

In m. 26 the second violins enter on a Bb (above the staff). The cellos carry the melody in m. 26 with arpeggiated figures. In m. 32 the melody is scored in solo 1st violin. Holst adds both the remaining 1st violins and 2nd violins in m. 37 to support the melody.

Holst in m. 42 scores the violins in octaves with the 1st violins starting on A6. This is the melodic figure of the section, despite the slow rhythmic movement. Solo violin returns at rehearsal III and contiues to the Largo. Cellos take the melodic figure in mm. 72-73, leading into rehearsal IV. In m. 76 Holst scores the violas with the melody with the starting note as A5. The background scoring is very minimal with only the clarinets and flute 3 playing. This allows the melody of the violas to cut through.

Finally, in m. 80 Holst brings in the full string section with the upper four voices on the melody. Three bars later the orchestration thins drastically leaving the solo cello with the melody in m. 83. The opening entrance of the cellos and basses is repeated in m. 84 and is truncated slightly.

Beginning at bar 94 Holst calls for each of the violin parts to play four notes each. The instructions in this section are "4 desks" and "con sord." The harmonies are rich and treble dominate. It is not until m. 97 that the solo cello comes in with melody (arpeggios).

The piece ends with the violins divided into four separate parts building a chord (Eb (whole notes), Eb (quarter notes), G, and C-Bb alternating. The violas are scored on Eb5 and G5 divisi. This high range sound diminishes to the final bar of the piece.

The orchestration that Holst uses through this piece is very interesting. The string parts seem to carry several melodic figures throughout and orchestration is thinned out in several places so that the melodies can be heard clearly.