I guess this one doesn't technically count as 80's, but this particular version was released in 1986, so we're running with it.
Gustov Holst, born in 1874, and died in 1934, was an English composer, arranger, and teacher of music. His most notable work is 1918's The Planets, which he composed in 1916. Allegedly, when his work was released, it was so different from that of music of the day that it was initially met with negativity and hostility from music coinsures of his time.
However, taking a step backwards, Holts could perhaps be compared to Marty McFly, when performing Johnny B. Good to an awestruck audience stated, "Guess you guys aren't ready for that, but your kids are gonna love it." Each movement of the suite is named after a planet of the Solar System and its supposed astrological character, and there are seven in total.
Though time may have perhaps gone on to forget Holst, at least in most circles of life, it would be the allegations brought forth in recent years that his work, specifically that which was showcased in The Planets, was liberally "borrowed" from by John Williams when creating the music for the original Star Wars film, and its first sequel, The Empire Strikes Back.
It is here that I turn to the 1986 Telarc recording from André Previn conducting the Royal Philharmonic Orchestra. Granted, this iteration came out long after those two films were released, it is the version which, to me, represents the most noticeable lifting of the arrangements down to the exact melodies, notes and causuras. If attuned to the work of Williams, you can clearly hear it in this work.
Some people point the similarities back to George Lucas, who may have provided Williams with a rough cut of the film using the work of Holst as a placeholder, and to provide the conductor with an example of the music he was looking for. However, this statement has yet to have been verified by Lucas or Williams directly. However, knowing how Lucas would cut footage of old dogfights together to inspire Industrial Light and Magic, and how a lot of this footage was repeated shot for shot, it wouldn't be unfathomable that it would be true he also did this with the music.
Regardless, I think that in general music tends to be inspirational, and to a certain extent mimicked. Without I Want A New Drug, there's no Ghostbusters. Without Taurus, there's no Stairway to Heaven. Without Super Freak, there's no You Can't Touch This. Without Under Pressure, there's no Ice Ice Baby. Yes, some examples are better than others, but you get the point. Art mimics art mimics art mimics art.
I personally look at it from a different perspective. If indeed Williams lifted his Star Wars music from Holst's The Planets, doing so has achieved something the likes of probably which wouldn't have happened. People today are listening to Holst's work. I know that's why I did. Even if it was started as an adventure in curiosity for comparison purposes, it turned into me appreciating the work of the late composer. It's because of its similarities to Star Wars that it's easy for me to get into. It's familiar, inviting, and can even be perceived as an alternate take to the iconic soundtrack of 77.
If you haven't heard Holst's The Planets, I highly recommend you do. Especially if you're a fan of Star Wars, orchestration, or both. It's powerful at times, mellow at others, and it's, quite frankly, just good. Check it out!
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THIS WEEK ON THE CHARTS
March 9, 1985 |
