Composer: Gustav Holst
Works: The Planets; Edward Elgar – Serenade for Strings
Performers: Radio-Sinfonieorchester Stuttgart des SWR; Roger Norrington, conductor
Recording: 27-29 June 2001, Stuttgart Liederhalle, SWR Live Recording
Label: Hänssler Classic
The juxtaposition of Gustav Holst’s The Planets and Edward Elgar’s Serenade for Strings on this recording under Roger Norrington’s baton offers a fascinating exploration of British music from the early twentieth century, despite the composers sharing merely a death year. Holst’s monumental orchestral suite, with its astrological inspirations, stands as a pillar of early modernist composition, while Elgar’s Serenade, a work of intimate charm, reflects the composer’s lyrical prowess in a different idiomatic landscape. This recording thus serves as an intriguing case study in contrasting orchestral color and emotional expression.
Norrington’s interpretation of The Planets is particularly noteworthy for its deliberate pacing, which may initially strike listeners as unconventional. This measured approach allows for a nuanced exploration of Holst’s intricate textures and thematic developments. The opening movement, “Mars, the Bringer of War,” possesses a baleful grandeur, sharply delineating the rhythmic drive that propels the piece forward. The careful articulation of orchestral lines reveals the inner workings of Holst’s score, drawing parallels to the lessons Vaughan Williams incorporated into his Sixth Symphony. Norrington’s interpretation invites us to reconsider the familiar, infusing it with a fresh vitality that prompts deeper listening. The moments of repose in “Venus, the Bringer of Peace” contrast beautifully with the preceding martial intensity, showcasing the orchestra’s ability to shift from the aggressive to the serene with grace.
In the final movement, “Neptune, the Mystic,” Norrington’s approach resonates with echoes of later British compositions, such as Bax’s Sixth Symphony and Vaughan Williams’ Sinfonia Antartica. The ethereal quality of the strings in this movement, especially as it fades into silence, is executed with exquisite control, allowing the listener to experience the haunting beauty of Holst’s vision. The orchestra’s technical prowess is evident throughout, with dynamic control and articulation that reveal the nuances often lost in more hurried interpretations.
However, the coupling with Elgar’s Serenade for Strings presents a contrast that may not appeal to all. The Serenade, with its soothing, lyrical charm, risks being overshadowed by the more dramatic and varied textures of The Planets. Norrington’s treatment of the Elgar is tender yet somewhat languid, lacking the emotional depth that one might hope for in this work. While the performance is technically adept, the Serenade often feels overshadowed by its illustrious companion, limiting its impact. Elgar’s work, while undeniably beautiful, can at times come across as overly saccharine in this reading, lacking the necessary contrast to Holst’s more expansive musical language.
The recording quality is commendable, with the engineering providing a clear, immersive soundstage that captures the full range of the orchestra’s palette. There is a notable absence of audience noise, which speaks to the professionalism of the recording process, allowing for an unencumbered listening experience. The multilingual booklet accompanying the disc provides valuable context, enhancing the listener’s engagement with the music.
Norrington’s interpretation of Holst’s The Planets reshapes our understanding of this established repertoire, offering a fresh perspective that invites further exploration. While the Elgar Serenade may not reach the same heights, it serves as a gentle counterpoint to the more robust expressions found in Holst’s suite. This recording ultimately stands as a testament to the enduring power of these works and the interpretative choices that breathe new life into them, positioning Norrington as a conductor worth following into the broader realms of British 20th-century music.