Planets, The (Op. 32/H125), No. 2: Venus, the Bringer of Peace Cover Image

Planets, The (Op. 32/H125), No. 2: Venus, the Bringer of Peace: Full Orchestra, Conductor Score & Parts

$80.00 USD

Planets, The (Op. 32/H125), No. 2: Venus, the Bringer of Peace: Full Orchestra, Conductor Score & Parts

Name: Planets, The (Op. 32/H125), No. 2: Venus, the Bringer of Peace: Full Orchestra, Conductor Score & Parts
Brand: Alfred Music
SKU: 36-A843002
Price: 80.00 USD
Availability: InStock

By Gustav Holst, ed./arr. by Clinton F. Nieweg / Gregory Vaught

Item: 36-A843002

$80.00

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Writing it between 1914 and 1917, Gustav Holst (1874-1934) was initially inspired to compose THE PLANETS based on a conversation he had about astrology while on holiday in Spain with some friends in 1913. Intrigued by the concepts, he sought to write an orchestral suite for seven of these astrological signs based on the planets known to the world at the time and imbue the music with the appropriate astrological meaning. Rather than order the planets as an astronomer would, Holst ordered them in such a way as to attain maximum musical effectiveness. Scored for a large orchestra, fellow composer Ralph Vaughan Williams wrote in 1920, "Holst uses a very large orchestra in THE PLANETS not to make his score look impressive, but because he needs the extra tone color and knows how to use it." This critical edition of the "Venus" movement by Clinton Nieweg and Gregory Vaught is based on the composer's manuscript. Instrumentation: 4.3+EH.3+BCl.3+CBsn: 6.0.0.0: Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set).

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Series: Nieweg Performance Editions - Kalmus

Publisher: Keiser Productions, Inc.

UPC: 612735990398

SKU: 36-A843002

Instrumentation: 4.3+EH.3+BCl.3+CBsn: 6.0.0.0: Perc(1): Hp(2).Clst: Str (9-8-7-6-5 in set)

More about this title

About the Composer: Gustav Holst

Gustav Holst (1874-1934) was an English composer whose orchestral works shaped twentieth-century classical music. Beyond The Planets, his most performed composition, he wrote extensively for band, chorus, and voice, often drawing inspiration from English folk traditions, Sanskrit literature, and spiritual themes. Holst taught composition at the Royal College of Music and remained committed to music education throughout his career, believing that composers should write for amateur musicians and students, not only professionals.

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Why we love this

Conductors return to Venus because it demands genuine orchestral sophistication while remaining musically coherent at the podium. The movement's restrained palette and lyrical writing reward careful ensemble balance rather than brute force, making it ideal for orchestras ready to refine their blend and sustain long lines together. This critical edition, grounded in Holst's manuscript, gives you the clearest window into his original intent.

What to expect

Venus unfolds as a meditation, with gentle undulations of harp and strings creating an almost suspended sense of time. The orchestration feels spacious despite the large ensemble; Holst's mastery lies in how he uses every section sparingly, so each entrance carries weight and the whole moves with floating serenity.

Who it's for

Orchestras with mature ensemble discipline and players comfortable with sustained, quiet playing. This movement requires control and listening rather than technical fireworks, making it valuable for groups developing their ability to blend colors and shape long phrases without vibrato or dynamic exaggeration.

How to get the most out of it

Shape the main melody through the horns and violas with a consistent, gentle vibrato that never breaks the atmosphere of tranquility; avoid heavy attacks.
Balance the two harps so they blend rather than punctuate; they are atmospheric support, not rhythmic markers.
Let the string phrasing breathe in measures of rest; silence here is as important as sound in creating the sense of peace.
Bring out the English horn solos in the middle section with warmth but never sentimentality; Holst's orchestration isolates these moments deliberately.

How to use it

Place Venus as a centerpiece in a concert focused on twentieth-century orchestral color or as a contrast to more energetic works; its calm contemplation balances a program's overall arc. It also serves well in a thematic concert pairing it with other Holst movements or works inspired by the cosmos, giving audiences a moment of genuine repose between dramatic pieces.