The Baltimore Symphony Orchestra gave Gustav Holst’s “The Planets” the “Off the Cuff” treatment on Friday at the Music Center at Strathmore. In this series, music director Marin Alsop prefaces the full performance of the lucky opus with a discussion, as the BSO plays little illustrative snippets of the work as well as related music.
Because I am going to complain a bit about the pre-concert discussion, now is the time to state very clearly that the main point of going to a concert is to hear great music, and Alsop and the BSO delivered just about everything you want to hear in a performance of “The Planets” on Friday. The performance burst with color and energy of nearly (wait for it) astronomical proportions. (Joke sold!)
The horns, in particular, turned it loose, giving their dissonances an almost physcial force in “Mars,” bumping along merrily with a round, rich sound in “Jupiter,” pounding home the rhythm in “Neptune.” The basses, so often playing without cellos over them in Holst’s suite, made a solid shelf of sound even when quietly underpinning the rest of the ensemble. First among its excellent efforts, the BSO’s percussion section gave us some perfectly on-point glockenspiel playing, and I kept being reminded on Friday how important that is in “The Planets.” The offstage chorus in “Neptune,” the women of the Baltimore Choral Arts Society, sat way up in the top tier of the hall so no one could tell where they were, giving additional effectiveness to their otherworldly ostinatos. The only quibble I can come up with is that sometimes the internal machinations of the orchestra in fast passages didn’t come off completely clearly, but Alsop did a great job guiding the orchestra through Holst’s complex rhythms and hemiolas while keeping up forceful momentum throughout.
Before the concert, Alsop discussed Holst’s conception of the planets, largely drawn from astrology, and she brought in astrophysicist Dr. Mario Livio, of the Hubble Space Telescope Science Institute, to discuss the real planets. No attempt was made to bridge the discussions, and it wasn’t clear which discussion was supposed to be more illuminating for the concert. The gorgeous photos of the real planets shown while the music was being played heightened the confusion, as we saw Venus’ clouds of sulfuric acid and remembered Dr. Livio’s discussion of Venus’ typical high temperatures in the 800s while listening to the winds and (dynamite) glockenspiel paint a peaceful picture.
Alsop also kept pronouncing Holst’s name “Holts,” and in general sounded a little more detatched than she has in some of her discussions, rattling off an evidently prewritten discussion of the life of the composer at hyperspeed. She did a good job highlighting the tritone interval but then almost apologized for having done so, apparently deciding that the info was too technical for a general audience. The “Off the Cuff” people are here to learn — bring on the intervallic discussion!
On the plus side, Alsop made some good jokes, and heaven knows classical music can stand a few more laffs. Dr. Livio brought a similar sense of humor and a genial stage presence worthy of a man who’s made a second professional success in the realm of popularizing science. And the turn of the images onscreen from Neptune to evocations of Voyager leaving the solar system, as the Choral Arts Society folks sang us out, added an extra sensation to the already transcendent fade-out, capping a tremendously satisfying performance. Just a little more care with the “Off the Cuff” elements, specifically the exposition and how to juxtapose astronomy and astrology, would have made for an evening that was (I’m going to do it again) out of this world.
FORGOT ABOUT DRE?
Well, I haven’t. It’s been three years and still no competition for Big Gustav in the realm of instrumental planets-themed suites from the legendary hip-hop producer, meaning I cannot make a playlist juxtaposing G. Holst and A. Young side-by-side, which would pretty much be the highlight of my music-fan life. Oddisee, step into the breach for the DMV!