I love Holst's style, his melodies aren't overly romantic, as with some other composers of his time, and he's great at conveying this sort of adventurous, lively, and somewhat mysterious atmosphere without being cheesy. Quite the contrary, actually, his ideas are always clear and inspired, at least to my ears.
I feel like there was always kind of a folk-song influence there, similar to a few other English composers of that generation (Vaughn Williams and Grainger, for instance). The simplicity and immediate “hummability” of the melodies in particular is a key trait of this.
One of the best performances from the brass at the climax of the finale l have ever heard. Every voice in those huge chords is clearly heard but nobody sticks out.
I have not heard this music before today. It makes me think of Arabia and I understand that Maestro Holst went there for health reasons at one time. For such a health challenged man he produced some powerful and emotive music which ought to be heard much more than it is. May he rest in peace
The only time I've heard this in a concert, I was playing in it! I loved playing it, but I can tell you that once you've played in it, the ostinato from the last movement will be ingrained in your mind forever . . . !
This is a brilliant and under performed piece, containing many hints of the mature writing style that we would hear in later works. We performed this with the Manchester Beethoven Orchestra some years ago and it really made an impression. It deserves to be heard more. Some brilliant writing for everyone.
I remember first hearing only a part of _In the Street of the Ouled Nails_ on the radio when I was about 13 and being absolutely captivated by the haunting ostinato. Annoyingly the presenter didn't say what the piece was or by whom! It must have been only about 8-10 years later that I identified the music and could listen to it in its entirety.
Have just discovered this piece. Heard it on Radio 3 and wasn't sure I'd caught the title correctly. Close enough. It is lovely, and I will enjoy listening to it again.
I legitimately really like this! It does very much sound as if Holst wanted to have his own personal take on Scheherazade, but frankly, he pulls it off with such finesse and charm that it’s hard to fault him.
Don't know why the conductor never let the "Leitmotiv" rhythm with the triads (first mvt) be played in time.. The rest is superb! Great piece and great work!
I think there may be some note to the conductor to the effect that that rhythm shouldn't be taken literally. I may be wrong, but when we played it I seem to remember we put a lot of work into getting the feel of that just right which involved deviating somewhat from what was written. We were told not to play a precise triplet, as I remember. All written music is up against the problem that musical notation can only ever be an approximation to what the composer intends and the audience needs-musical interpretation entails knowing what deviations to make. The performance has to create the feeling of certain notes being stretched or delayed or rushed relative to the beat-not the feel of a precisely played syncopation matching the beat. Holst has written that out as far as the notation allows, but the performance has to go the rest of the way, and does.
This is a masterful interpretation. But, which is it: the Royal Scottish National Orchestra conducted by David Lloyd-Jones or the London Philharmonic Orchestra with Adrian Boult? Both are credited above.
The only thing that Holst's Beni Mora and Rimsky Korsakov's Scheherazade have in common is the fact that the inspiration for both stemmed from the Arabic. Holst wasn't trying to imitate Scheherazade when he wrote Beni Mora. Beni Mora has a totally different perspective than that of Rimsky Korsakov's piece. Musically, both pieces are worlds apart. You might just as well ask if Ravel had been listening to Rimsky Korsakov when he wrote his two works that had the title Scheherazade. Likewise, had Nielsen been listening to Rimsky Korsakov when he wrote incidental music to a production of Adam Oehlenschläger’s play Aladdin? In both cases the answer is "no". Finally, the vast majority of Rimsky Korsakov's music doesn't resemble the music in his Scheherazade.
He wrote a ton of great music including Hammersmith, his Scherzo (one movement of his unfinished symphony), Egdon Heath (his own favourite), his several choral works especially the Cloud Messenger, and loads of shorter but still powerful pieces.
The repetition was exactly what he heard when a procession went by, possibly of dervishes. For some reason it always reminds me of gangster films from the 50s!
The ostinato in the third movement is irritating to the point of obnoxiousness. An insult to orchestral players as well as the audience. And finally giving it to the tympani is just stupid. A far, far cry from the inventiveness of The Planets.
00:01 First Dance
06:20 Second Dance
10:20 Finale - In the Street of the Ouled Nails
Cmaj7 sir can I ask you something?
@@cab1stborn Yes?
@@Cmaj7 Left on read, oof
I had no idea 2 oboes could be that well tuned.
And an English horn too
And have nearly the same tone aus a English horns upper register in unison
Hiss
(An oboist)
@@Patrick-eu6gi Of course it can be well-tuned.
♥♥♥
I can't understand why this isn't played more often; it's a great piece and the 3rd movement is astonishing.
windbands play it still, timeless music of Holst! ♫♪♫♪
Actually, very little of Holst's works are performed outside of THE PLANETS.
I love Holst's style, his melodies aren't overly romantic, as with some other composers of his time, and he's great at conveying this sort of adventurous, lively, and somewhat mysterious atmosphere without being cheesy. Quite the contrary, actually, his ideas are always clear and inspired, at least to my ears.
I feel like there was always kind of a folk-song influence there, similar to a few other English composers of that generation (Vaughn Williams and Grainger, for instance). The simplicity and immediate “hummability” of the melodies in particular is a key trait of this.
@@agogobell28 Holst was Vaughan Williams' closest friend and they often travelled around collecting traditional folk songs.
One of the best performances from the brass at the climax of the finale l have ever heard. Every voice in those huge chords is clearly heard but nobody sticks out.
I have not heard this music before today. It makes me think of Arabia and I understand that Maestro Holst went there for health reasons at one time. For such a health challenged man he produced some powerful and emotive music which ought to be heard much more than it is. May he rest in peace
Health doesn't seem to be a limiting factor luckily. Chopin was sick for a while if I am correct and also maybe Shostakovich.
@@jameslorenz3718 Maybe poor health helps as the patient composer (!) is not distracted by things he cannot do at least for the time being?!
Correct. Holst took a holiday to Algeria in 1908 on medical advice. This suite was composed based off of the street music he heard there.
The only time I've heard this in a concert, I was playing in it! I loved playing it, but I can tell you that once you've played in it, the ostinato from the last movement will be ingrained in your mind forever . . . !
Wow...! 🥰
I can truly see the sandy dunes of the sahara desert at 2:48! 😘
Why am I just now finding all of these Gustav Holst Orchestral works on UA-cam? A true treasure of English music
This is a brilliant and under performed piece, containing many hints of the mature writing style that we would hear in later works. We performed this with the Manchester Beethoven Orchestra some years ago and it really made an impression. It deserves to be heard more. Some brilliant writing for everyone.
High Peak Orchestra for me, roughly around the same time I think! I remember hearing that the Beethoven were going to play it.
I remember first hearing only a part of _In the Street of the Ouled Nails_ on the radio when I was about 13 and being absolutely captivated by the haunting ostinato. Annoyingly the presenter didn't say what the piece was or by whom! It must have been only about 8-10 years later that I identified the music and could listen to it in its entirety.
Have just discovered this piece. Heard it on Radio 3 and wasn't sure I'd caught the title correctly. Close enough. It is lovely, and I will enjoy listening to it again.
I legitimately really like this! It does very much sound as if Holst wanted to have his own personal take on Scheherazade, but frankly, he pulls it off with such finesse and charm that it’s hard to fault him.
gustav holst officially owns me now
So much longing for Borodin and RK here, but who in their right mind would complain of that? Lovely always
Just ...beautiful.. thank you for posting this..
Finally! I've been waiting for someone to do this for ages - there are so few recordings available online
Very interesting and completely new to me! Thank you for sharing his art!
He is absolute magician!
Enjoyed listening to this work.
Very beautiful score of Holst, who is known only through his "planets, which do not sum up his writing capacities.
True, but the planets is still an incredible work
Irrational time in your pfp? You must profoundly enjoy new complexity, I am sure!
Thank you for this!
God does Holst love harmonic minor scales in this song
The violas at 7:04 sound magical
Don't know why the conductor never let the "Leitmotiv" rhythm with the triads (first mvt) be played in time.. The rest is superb! Great piece and great work!
I think there may be some note to the conductor to the effect that that rhythm shouldn't be taken literally. I may be wrong, but when we played it I seem to remember we put a lot of work into getting the feel of that just right which involved deviating somewhat from what was written. We were told not to play a precise triplet, as I remember.
All written music is up against the problem that musical notation can only ever be an approximation to what the composer intends and the audience needs-musical interpretation entails knowing what deviations to make.
The performance has to create the feeling of certain notes being stretched or delayed or rushed relative to the beat-not the feel of a precisely played syncopation matching the beat. Holst has written that out as far as the notation allows, but the performance has to go the rest of the way, and does.
Thus came up when I searched "benis"
Excellent.
Grazie di cuore
♫♪♥
extremely dramatic. love it
4:00 a tiny bit of foreshadowing of 'Mars' from the planets...
There's Venus at 8:31 as well.
And the dynamics in the opening sound like Uranus
Honestly, what composition of Holst's doesn't have a reference to The Planets
I see we have similar tastes in music...
this is where my essay on edward said brought me
2:04 wow... this blows my mind
3:10 James Bond!
totally genius!!!!!!
This is a masterful interpretation. But, which is it: the Royal Scottish National Orchestra conducted by David Lloyd-Jones or the London Philharmonic Orchestra with Adrian Boult? Both are credited above.
Pretty sure it's the Lloyd-Jones, comparing it with my CD of the same version (on Naxos).
Wow this is dope af
I love it
♥♥♥
Holst had been listening to Rimsky Korsakov
I had that exact thought :)
The only thing that Holst's Beni Mora and Rimsky Korsakov's Scheherazade have in common is the fact that the inspiration for both stemmed from the Arabic. Holst wasn't trying to imitate Scheherazade when he wrote Beni Mora. Beni Mora has a totally different perspective than that of Rimsky Korsakov's piece. Musically, both pieces are worlds apart. You might just as well ask if Ravel had been listening to Rimsky Korsakov when he wrote his two works that had the title Scheherazade. Likewise, had Nielsen been listening to Rimsky Korsakov when he wrote incidental music to a production of Adam Oehlenschläger’s play Aladdin? In both cases the answer is "no". Finally, the vast majority of Rimsky Korsakov's music doesn't resemble the music in his Scheherazade.
How can buy the score?
0:40 note is D, not D#, but I prefer it!
Hello to Saint-Saens with his Bacchanale
When 2:06 hits 🤩
Wowsa
Can I get the pdf to this??
It’s free to download on IMSLP
A fascinating piece with lots of drama that just misses the bullseye.
lol nope
Wow, since when wrote Holst other GREAT music than the planets?
It's in the title... 1910...
Dont really like a lot of Holst myself but this and Terzetto are on par with the Planets.
Since always!
First suite in Eb
He wrote a ton of great music including Hammersmith, his Scherzo (one movement of his unfinished symphony), Egdon Heath (his own favourite), his several choral works especially the Cloud Messenger, and loads of shorter but still powerful pieces.
ホルストはいいね
3:17
Did the clarinet play the triplet as 2 8th's and a quarter? It's definitely not a quarter note triplet.
I see the oasis & the jinn 🧞♂️
♫♪♥
7:24
This is easily as indelible as The Planets. Its subject keeps it from being popular with Western audiences? Maybe. Nevertheless, a timeless classic.
A tourist is just a tourist no matter what.
Sounds like Genshin impact
i know right?? take a listen to the japanese suite by holst, looks like yu peng had quite a few influences xD amazing stuff though
Why tf did he make the oboes repeat over and over. It drives me crazy. Other than that, pretty good
The repetition was exactly what he heard when a procession went by, possibly of dervishes. For some reason it always reminds me of gangster films from the 50s!
unfortunate about that horn entrance at 17:00, but still a thrilling performance
Groove Tutor that's a perfect stopped entrance.. What do you want?
You mean the one they played perfectly?
"orientalism"
Transcended orientalism
finalle is a masterpiece, and the piccolo fucked it to loud
Mostly inaudible.
CAN YOU HEAR ME???
Great archers did not always hit the bullseye. Great composers do not always hit their mark either. This is like a poor man's Sheherazade.
You think Holst was aiming at something and missed? What bilge!
and you think it is a masterpiece? More power to you. @@andrewpetersen5272
The ostinato in the third movement is irritating to the point of obnoxiousness. An insult to orchestral players as well as the audience. And finally giving it to the tympani is just stupid. A far, far cry from the inventiveness of The Planets.
I personally like it. It’s sets a tone that the melody can always come back to. When my orchestra practiced with out it, it sounded super empty