Suburban Spaces Out

Edvard Grieg: Peer Gynt Suite No. 1 (Morning Mood)
Notes by Abigail Koehl

If you’ve ever wondered what sunrise would sound like if it arrived carrying a warm blanket and a cup of tea, Edvard Grieg has already composed the answer. Born in 1843 in Bergen, Norway, Grieg became one of the great champions of Scandinavian musical identity.

His works are filled with folk-infused melodies, evocative harmonies, and a knack for painting vivid soundscapes. Commissioned by playwright Henrik Ibsen to create incidental music for his dramatic poem Peer Gynt, Grieg reluctantly accepted the job (later admitting he found the story “impossible.”) Yet, from this “impossible” task came some of the most recognizable music ever written, including the serene “Morning Mood.”

Despite its name, “Morning Mood” does not depict the hero Peer Gynt waking peacefully in his own bed. In fact, Peer opens his eyes in the middle of a desert after being chased by angry trolls (as one does). But Grieg wisely set aside the chaos of the plot and instead wrote a universal sunrise: soft, glowing, and full of promise. As you listen, notice how the flutes and oboes open the piece with gently rising phrases, like musical sunbeams stretching over the horizon. The strings soon follow, warming the texture like morning light spreading across a landscape. Grieg’s orchestration is designed to feel effortless: long, arching melodies, warm harmonies, and a steady, pastoral pulse that invites you to breathe a little deeper.

Listen especially to the graceful dialogue between woodwinds and strings: it’s Grieg’s way of showing that even the quietest moments can be full of life. When the full orchestra blooms, you will hear the day arriving in full color. Whether you picture a fjord, a forest clearing, or just the glow of your bedside lamp, “Morning Mood” captures that rare moment when the world feels peaceful and new (and all before you’ve even had your coffee).

Gustav Holst; The Planets
Notes by Mandi Centeck

Composed between 1914 and 1917, The Planets evokes the unique moods and characteristics of seven planets. As an avid astrologer, Holst found inspiration in the astrological and mythological associations of each planet and brought his wide-ranging vision to life, coloring it with a palette of massive orchestration and unique instrumentation.

Mars, Bringer of War: If there is any doubt as to what this piece is about, it is immediately dispelled by the opening bars. The driving rhythm of mechanized warfare in an unnerving 5/4 meter sets the stage that this is not a heroic march. The opening col legno by the strings (striking the string with the bow stick) and a foreboding melody in the lower brass are suggestive of an army of darkness approaching from the distance. The piece crescendos relentlessly as an insidious melody in the low strings and brass emerges, a slithering hideous serpent of war. Holst uses massive orchestration to build to its dramatic finale ending: a frantic scrambling of strings and a dire final chord “as if millions of voices suddenly called out in terror and were suddenly silenced” (thanks, Obi Wan). Traumatized yet? If it sounds familiar, the brassy rhythmic march inspired a lot of movie music, and the piece itself is often played at college football games.

Venus, Bringer of Peace: So dreamy! In a striking contrast to Mars, delicate Venus brings a sense of serenity with warm melodies in the horn, winds, and solo violin. Shimmering muted strings, glockenspiel, and celesta give the piece an ethereal, heavenly feel.

Mercury, the Winged Messenger: Light, quick darting passages and brief lilting melodies that bounce between the winds and strings represent the agility of the mind.

Jupiter, Bringer of Jollity: Jovial, Jubilant Jupiter opens with vigorous strings and an energetic syncopated theme in the brass. A second stately, hymn-like theme represents the joy of ceremonial celebrations, a tune so popular Holst made it the standalone British anthem, “I vow to thee, my country.” The sparkling brassy energy of this movement inspired music of countless films.

Saturn, Bringer of Old Age: The weightiness and inevitability of the passage of time was one of Holst’s personal favorite movements.

Uranus, the Magician: A mischievous, yet relentless romp with off-kilter rhythms and dramatic chords is suggestive of a maniacal sorcerer and, in fact, reminds many of Dukas’s The Sorcerer’s Apprentice.

Neptune, Bringer of Mysticism: Though we are not playing this movement today, Neptune was the most recently discovered planet. Located at the edge of the solar system, its mysteriousness was represented by an offstage female chorus, giving an otherworldly feeling as the listener drifts past it into the vastness of infinite space.

John Williams: Selections from Star Wars
(Main Title, The Imperial March, & Across the Stars)
Notes by Abigail Koehl

Few composers have reshaped the sound of modern cinema more profoundly than John Williams, whose scores have introduced generations to the power of the orchestra. Born in 1932, Williams revived the grand symphonic tradition in film, drawing on influences like Wagner, Holst, and Korngold to create music that feels both timeless and unmistakably cinematic. His Star Wars soundtracks are now so iconic that many people can identify them faster than they can recall their own phone numbers, which says a lot about both Williams and modern memory
habits.

The Main Title is the musical equivalent of a red-carpet entrance with bold brass fanfares, sweeping strings, and enough confidence to launch a galaxy’s worth of storytelling. Listen for the heroic leitmotif in the trumpets, which announces the  saga with unshakeable optimism. The energy,  rhythm, and broad melodic lines all speak back to the golden age of Hollywood, where orchestras were the engines of adventure.

 The Imperial March is arguably one of the most recognizable villain
themes in music history. Williams crafts a menacing presence through relentless rhythmic drive, heavy brass, and stark minor harmonies. When you hear the trombones and tubas summon Darth Vader’s motif, it is hard to not picture him entering the room! Instead, notice the militaristic percussion and the way the low brass and strings move in lockstep, as if the entire orchestra has suddenly joined the Empire (temporarily, of course).

Across the Stars is the sweeping love theme from Attack of the Clones. It’s lush, lyrical, and full of the kind of dramatic yearning that only a forbidden romance (and a composer of Williams’s caliber) can sustain. Listen for the soaring violin lines, shimmering woodwinds, and rich harmonic shifts that give the theme its emotional weight. This is Williams in full romantic mode, proving that even in a universe full of lightsabers and space politics, there’s still room for a really beautiful melody. 

Together, these selections show Williams at his most multifaceted: heroic, ominous, and tender. Whether you’re a lifelong fan or hearing these pieces orchestrally for the first time, prepare for a musical trip to a galaxy far, far away!

James Horner: Apollo 13
Notes by Greg Takacs

The 1995 soundtrack for Ron Howard’s movie “Apollo 13” is a masterful composition that captures the essence and intensity of NASA’s near fatal, fifth journey to the Moon in 1970. The music was composed by James Horner, a renowned film composer, known for his ability to evoke deep emotions and create a powerful auditory experience.

One of the standout features of the soundtrack is its ability to blend orchestral grandeur with subtle, poignant moments. The music seamlessly transitions from the tense, heart-pounding sequences of the spacecraft’s journey to the more reflective and somber moments that highlight the astronauts’ struggles and perseverance. During the journey to the Moon (after leaving Earth orbit) the Apollo Service Module partially exploded due to an electrical short that caused the spacecraft to lose all power and most of its oxygen. This forced the astronauts to use the Lunar Module as a lifeboat to survive. Many US space historians believe the Apollo 13 Mission to be NASA’s finest hour.

Horner’s use of leitmotifs is particularly noteworthy in this soundtrack. These recurring musical themes help to underscore the emotional journey of the astronauts. For example, the main theme, with its soaring strings and brass, evokes a sense of heroism and determination, while the more delicate piano and woodwind passages reflect the vulnerability and humanity of the astronauts.

The “Apollo 13” soundtrack was nominated for an Academy Award for Best Original Score and is a testament to James Horner’s talent and his ability to create music that is both evocative and memorable. The music plays a crucial role in bringing the story of Apollo 13 to life, making it an essential part of the motion picture.