I come at this from a different perspective, because I don’t especially care for either of them.
Certainly they admired, and drew from each other. But strictly IMHO, Holst was better in more different styles, and Vaughn Williams never wrote anything that could equal The Planets. So, for a narrow definition of “best composer” I’ll say Holst.
I agree with kunilou. Holst was a bona fide classical composer whereas Williams wrote the equivalent of classical pop music. It doesn’t mean Williams’ music isn’t enjoyable, but it doesn’t have the gravitas of Holst’s.
Classical pop music can be very good. Witness Mozart’s “The Magic Flute” which is all sorts of fun and still exhibits considerable musicianship.
“Classical pop music”? :eek: Vaughan Williams wrote nine symphonies! He also wrote operas, ballets, religious and secular choral music, and film scores. If you want gravitas, he’s got it in abundance. My favorite RVW work is Rhapsody on a Theme of Thomas Tallis, an absolutely amazing piece.
As for Holst, The Planets is quite deservedly popular, but in some circles it’s considered a bit kitschy. I’m kinda “meh” about most of his other stuff. His two band suites are played all the time, everywhere—I’ve played them both more times than I can count—and I think they’re both pretty dull. Hammersmith is better, but it’s not played nearly as often.
They’re both good, but I think RVW is the superior composer overall.
Oh, and sorry to be nitpicky, but RVW’s last name is “Vaughan Williams,” not “Williams.”
In The Planets, the only movement that verges towards the kitschy is Jupiter - I don’t like it much. And I see how Mars could be considered heavy and shallow “in some circles” but there’s no denying that it’s incredibly effective. The only thing that annoys me about it is that it has completely overshadowed the other movements of the suite. Yet, there are some truly wonderful moments in the whole work, like the lovely violin melody in Venus, the mysterious four-note motif that reappears throughout Uranus and, first and foremost, the amazing last bars of Neptune, where the wordless choir very, very slowly dissolves into silence. That’s one of the greatest, most poetic endings in classical music in my opinion. It’s like one last look at our familiar solar system before a one-way leap into the unknown.
Of his other works, I remember liking the Invocation for cello and orchestra.
I listened to some RVW almost ten years ago and, while I found it pleasant, his music didn’t really impress me that much.
And since this wouldn’t be the Straightdope without a bit of pedantry, can I suggest that Baxisatleast as good as these two, and perhaps even better on the whole ?
I forgot to add my pieces. On the VW side, a really good performance of The Lark Ascending can be absolutely transcendent. A less-good one can be trite and cloying.
For Holst, apart from The Planets I’ll throw in his First Choral Symphony: The Mystic Trumpeter for something less well-known. Another choral work with a Whitman text I’ll recommend is his A Dirge for Two Veterans, written in the early days of 1914 - short but sublime.
Yes but: Bax vs Delius? WHO IS BETTER? And what if I throw in Herbert Howells as a spoiler?
How would you decide it? Is I purely a popularity contest, or do you judge it on technical points, or just what you happen to like more?
Going by the last item, I’d give the edge to Holst.
About my “circles” remark above—I personally love The Planets, and I own several recordings of it (my favorite is Bernard Herrmann’s version, although it’s way too slow). But in my lifetime, I’ve heard a lot of trash talk about it from people in the classical music field. One of my music professors in college called it “absolute garbage.” The attitude among conductors I’ve known is mostly ambivalent—it’s entertaining and a guaranteed audience magnet, but they’re not crazy about it.
I’ll see your pedantry and raise you with Sir Granville Bantock. As much as I love Vaughan Williams and Holst, Bantock’s Pagan Symphony (1927) and Celtic Symphony (1940) knock it out of the ballpark as far as 20th Century British music goes.
I also put Sir Arnold Bax on the box (heh) more frequently than VW or Holst. Tintagel is a stunning and gorgeous piece of “program music” in the early R. Strauss vein.
As for VW, I have an embarrassing fondness for his Symphony No. 7, or Sinfonia Antarctica, which started life as the film score for the 1948 Scott of the Antarctic.. Bring on dem wind machines and wordless female vocal chorus.
I am a member of an Episcopal church with a music program that takes itself pretty seriously, which means I am subjected to more 20th century English music than…well, than I would like.
I’m not wild about either Holst or Vaughan Williams, though I wouldn’t say I dislike either.
Holst’s setting of “In the Bleak Midwinter” is absolutely exquisite; it;s too bad the poetry is nowhere near a match for it. I do like “The Planets.” “Jupiter” is my favorite movement, though, so that may tell you where I’m coming from. Most of the other studf I’ve heard of Holst’s is…fine. But I don;t go out of my way to listen to it.
Vaughan Williams is a very distinctfive composer, and I’m not sure how I feel about that. If I flip on the radio and hear a piece with a folky vibe, a lot of low strings, and a modal key there’s a good bet it’s ol’ Ralph. I do like “Variations on a Theme by Tallis,” very much, but how much of that is Vaughan Williams and how much Tallis I’m not sure. I once sang as one of the sixteen soloists in “Serenade to Music” (the original sixteen were not available, being mostly dead) and I will admit that the piece grew on me, quite a bit. Stil, there’s a sameness about many (not all) of his works that doesn’t thrill me. Again, happy to listen to him, not one of my favorites.
If I had to choose one, it’d probably be Holst today on the strength of “Bleak MIdwinter.” But it might be the other guy tomorrow.
Both are head and shoulders above the other twentieth c British composers I’m familiar with, though. I really don;t like most of the output of that place and time. And I really, REALLY don’t have any use for Herbert Howells (I know several organists wh love him and I don;t get it at all), except I will make an exception for his anthem “Like As the Hart,” which is moving, especially when you know that he wrote it as WWII was breraking out.
Thanks for all responses. Let me ask a slightly more specific question. Whose folk song treatments do you think bring out the most beauty from the subject material? I am a fan of the modal quality of much of the music coming from the English countryside. I would also welcome comments on Grainger’s Lincolnshire Posy. How is Grainger’s treatment of folk music melodies similar and/or different from Vaughan Williams and Holst?
I am just curious what the knowledgeable have to say on this subject.
Grainger seems to me to…do less?..with the source material? His folk based stuff sounds to me like a straightforward presentation of melody and simple harmony. “Hey! I found this great tune! Isn’t it a great tune?”
I really like his original compositions, piano pieces, and works for chorus, but I never considered him on the level of VW or Holst as a manipulator of folk themes into complex orchestral or vocal presentations.
Glad you agree, Ike. Obviously you are very thoughtful and discriminating where your music is concerned
Our current music director is less interested in the 20th-c English composers than some of her predecessors–for her, the default is normally Bach. But we’ve had a couple in the past that just loved Howells. I’d guess shifting away from Howells and his ilk is more a matter of personal preference rather than a manifestation of a bigger trend. Could be wrong though–I’m not plugged into the larger Episcopal music scene these days so I don’t know much about what’s happening in other churches.
Surprising, since that’s probably my favorite movement of the whole piece, featuring music that (to me, anyway) exemplifies the excitement and joy of early springtime, and a march sounding like the national anthem of a country that would be worth unhesitatingly dying for. “Mars” gives me chills just knowing when it was written (1914).
I should probably give Vaughan Williams another chance. The little I’ve heard did not overly impress me.
Try listening to “Mars” on Hallo’ween night, live performance by a full (college) orchestra, a week before Ronald Reagan’s 1980 election, on a powerful dosage of LSD.
We were all holding each other and sobbing in terror.
(In retrospect, it was a terrible idea, but one of our karass was playing Bach’s “Toccata & Fugue in D Minor” on the Woolsey Hall organ, one of the most monumental pipe organs in North America, and we promised we’d all show up to the holiday spook concert for his Big Moment.)