Holst’s The Planets is one of those pieces whose colourful
and inventive orchestration would seem to be an essential part
of a true experience of the music. That said, alternative versions
also reveal the innate ability of the music to transcend its
instrumentation. We’ve fairly recently come across a very good
4-hands piano version of the work on the Nimbus label (see review).
There are also recordings with brass band but I had never come
across an organ recording like this before.
Holst himself wrote the piece originally in a version on two
pianos, apparently reserving Neptune for organ. The
final orchestration includes organ as part of the full score,
and one of the early thrills of my experience with CD in the
1980s was hearing that instrument thunder through moments of
Charles Dutoit’s Montreal Decca recording, a version which is
still a firm favourite amongst many fine releases in the current
catalogue. The booklet goes into a description of each planet
and Holst’s musical treatments – at which stage I would point
to Paul Serotsky’s excellent programme
notes on the piece - but doesn’t give away much on the subject
of the organ transcription used for this recording. The organ
itself is a crucial factor in such an undertaking, and the two
instruments used here are stars in their own right. First there
is the Cavaillé-Coll-Mutin organ, restored and installed in
the St. Nikolai in Kiel in 2003/4. This is combined with another
larger organ, which is a 1965 instrument by Detlef Kleuker.
Once again it would have been fascinating to know how these
instruments have been coupled, or which makes what contribution
to each movement. Some effects are clearly modern, such as some
of the rather cheesy celestial sounds in Venus, the Bringer
of Peace, but I’m the kind of listener who likes to know
what he is consuming, and knowing the hunger for technical data
most organ buffs have it would have been nice to have had a
bit of a lecture on the subject. Some information on microphone
placement and the SACD balancing would also have added to the
juicy enjoyment of such an unusual disc.
As you can imagine, there is plenty of spectacular sonic content
on this recording, but the real impact is less in massive volume
of sound and trouser-flapping bass, and more in the sheer diversity
of colour available from these sources. Yes, we miss the menace
of percussion in Mars, the Bringer of War, but Hansjörg
Albrecht’s articulation manages to communicate plenty of rhythm,
and the actual mechanics of the organ add their own distant
rattle of advancing armour. The harmonies swell and develop
into a convincing mass of sound which generates its own highly
convincing orchestral effect.
If you don’t like organ, then this version of The Planets
isn’t going to convert you, but if you like The Planets
then this is a powerful alternative to have next to your favourite
orchestral recordings. Pretty much all of the top moments in
the piece are ‘hit’ with convincing effect. The big tune 3:38
into Jupiter for instance, is perhaps a smidge on the
slow side, but is stirring as ever. The organ does have a way
of expanding tempi just a little, with a little more weight
and heft needed to manoeuvre through some of the tighter corners,
but Albrecht avoids making the music sound laboured. This is
all a question of context, and some of these moments would attract
criticism if they were to appear in the same way with an orchestra
and conductor. With the organ you become accustomed to the piece
as if it were being driven by a different vehicle: a single
rather refined and impressive juggernaut rather than a fleet
of multi-coloured Ferraris.
Some of the subtler moments are amongst the most magical in
this recording. Saturn, the Bringer of Old Age is particularly
well shaped, and with some wonderful chimes from the 7th
minute. The dancing quality of Uranus becomes somewhat
elephantine on organ, but again context is everything, and Albrecht’s
articulation keeps things dynamic; and the oom-pah pedal bass
notes are a life-enhancing treat. That organ on Dutoit’s recording
is spectacular in this movement, and one of the equivalent moments
between 4:55 and 5:00 is here given rather short shrift with
an upward sweep which might have had a little more substance.
Those subsequent atmospheric chords here and later on are suitably
chilling however, and the transition to the final movement,
Neptune, is perfectly timed. The treatment of the music
in this movement makes it least like the orchestral version
than any of the others, with chords undulating and spread like
lapping waves. This generates a fine sense of mystery, but takes
a little getting used to. The final passages at which the chorus
would normally enter is done with sensitivity and plenty of
other-worldly mystery, and all of that sense of infinity the
music needs.
This is a remarkable recording to have around; and just one
of many from Hansjörg Albrecht on the Oehms Classics label.
No, it’s not the best The Planets ever and shouldn’t
be seen as a principal reference, but as a transcription it
is remarkably successful in my opinion, though I’m sure there
are purists who would disagree. Hi-Fi buffs and seekers of SACD
sonic thrills can have plenty of fun with the recording, and
have no need to bring it out like a secret vice when there is
the pleasure of so much fine music to be had.
Dominy Clements
Hansjörg Albrecht (organ)
OC 683
[60:08]