Holst, "The Planets, Op. 32" - Andre Previn, Royal Philharmonic Orchestra (Telarc, 1986)

When I bought my first compact disc player nearly 20 years ago, one of my first CD purchases was a performance of my favorite work of classical music.

Well, it's one of my favorites, at least. Bach's "Toccata and Fugue in D Minor" and Beethoven's Ninth Symphony have to rank right up there.

Let's call Gustav Holst's "The Planets" my favorite work of 20th-century classical music. From the dramatic overtones of "Mars, Bringer of War" to the quieter introspection of "Neptune, The Mystic," the seven movements of the orchestral suite an assortment of well-constructed melodies wrapped in a wide variety of textures.

"The Planets" premiered on this day in 1919 in London, Holst's hometown. On the occasion of the first performance, he said: "If any guide to the music is required, the subtitle

of each piece will be found sufficient, especially if it is used in a broad sense. For instance, 'Jupiter' brings jollity in the ordinary sense, and also the more ceremonial kind of rejoicing associated with religious or national festivities. 'Saturn' brings not only physical decay, but also a vision of fulfillment. 'Mercury' is the symbol of the mind."

I became interested in "The Planets," believe it or not, after hearing elements of it in compositions by some of my favorite rock artists. "Mars," for example, forms the theme of "The Devil's Triangle" on King Crimson's "In the Wake of Poseidon" album. Frank Zappa, a pioneer at integrating classical music with rock, borrowed wholesale from "Jupiter" for "Invocation of Ritual Dance of the Young Pumpkin" and "Brown Shoes Don't Make It," both from the Mothers of Invention's "Absolutely Free."

Regardless of the more modern applications, "The Planets" stands as a very enjoyable listen, one that elevates Gustav Holst (1874-1934) to a high ranking among 20th-century composers.