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82-696: The Planets , Op . 32, is a seven- movement orchestral suite by the English composer Gustav Holst , written between 1914 and 1917. In the last movement the orchestra is joined by a wordless female chorus. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character. The premiere of The Planets was at the Queen's Hall , London, on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people. Three concerts at which movements from

164-461: A 'happy ending', for, as he himself said, 'in the real world the end is not happy at all'". At a Queen's Hall concert on 22 November 1919, Holst conducted Venus, Mercury and Jupiter. There was another incomplete public performance, in Birmingham , on 10 October 1920, with five movements (Mars, Venus, Mercury, Saturn and Jupiter), conducted by the composer. The first complete performance of the suite at

246-448: A baby in a woman's womb ... For two years I had the intention of composing that cycle, and during those two years it seemed of itself more and more definitely to be taking form. Imogen Holst , the composer's daughter, wrote that her father had difficulty with large-scale orchestral structures such as symphonies, and the idea of a suite with a separate character for each movement was an inspiration to him. Holst's biographer Michael Short and

328-487: A bridge treatment until symptoms respond to corticosteroids. Several different malignancies, particularly small-cell lung cancer and Hodgkin lymphoma , are associated with a paraneoplastic neuritis. This carcinomatous polyneuropathy is associated with the presence of antibodies against onconeural antigen, Hu, Yo, amphiphysin, or CV2/CRMP5, which recognize and bind to both tumor cells and peripheral nervous system neurons. This paraneoplastic syndrome may present as either

410-657: A companion piece to "Opus 27, No. 1" ( Piano Sonata No. 13 in E-flat major , 1800–01), paired in same opus number, with both being subtitled Sonata quasi una Fantasia , the only two of the kind in all of Beethoven's 32 piano sonatas. Furthermore, the Piano Sonata, Op. 27 No. 2, in C-sharp minor is also catalogued as "Sonata No. 14", because it is the fourteenth sonata composed by Ludwig van Beethoven. Given composers' inconsistent or non-existent assignment of opus numbers, especially during

492-420: A composer's juvenilia are often numbered after other works, even though they may be some of the composer's first completed works. To indicate the specific place of a given work within a music catalogue , the opus number is paired with a cardinal number ; for example, Beethoven 's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata ) is "Opus 27, No. 2", whose work-number identifies it as

574-571: A composer's works, as in the sets of string quartets by Joseph Haydn (1732–1809) and Ludwig van Beethoven (1770–1827); Haydn's Op. 76, the Erdödy quartets (1796–97), comprises six discrete quartets consecutively numbered Op. 76 No. 1 – Op. 76 No. 6; whilst Beethoven's Op. 59, the Rasumovsky quartets (1805–06), comprises String Quartet No. 7, String Quartet No. 8, and String Quartet No. 9. From about 1800, composers usually assigned an opus number to

656-453: A composition, Prokofiev occasionally assigned a new opus number to the revision; thus Symphony No. 4 is two thematically related but discrete works: Symphony No. 4, Op. 47, written in 1929; and Symphony No. 4, Op. 112, a large-scale revision written in 1947. Likewise, depending upon the edition, the original version of Piano Sonata No. 5 in C major, is cataloged both as Op. 38 and as Op. 135. Despite being used in more or less normal fashion by

738-697: A disease classically associated with a central demyelinating process; however, it also presents with a painful peripheral neuropathy. Treatment of vitamin deficiencies focuses around repletion of specific deficiencies, recovery is often prolonged and some of the damage is often permanent. Many classes of medication may have toxic effects on peripheral nerves, these iatrogenic neuropathies are an increasingly common form of neuritis. Broad categories of medications associated with toxic effects on nerves include: antineoplastic agents , antibiotics , immunosuppressants , and cardiac medications. Management of these medication induced neuropathies center around discontinuation of

820-506: A general rule HIV-associated neuropathy will improve with continued antiretroviral therapy while medicated associated neuropathy will worsen. Multiple sclerosis and Neuromyelitis optica are autoimmune diseases which both frequently present with optic neuritis , an inflammatory demyelinating neuropathy of the optic nerve . Multiple sclerosis is a disease of unknown etiology which is characterized by neurological lesions "disseminated in time and space". Neuromyelitis optica, once considered

902-468: A lymphocytic meningitis . The nerve inflammation seen in neurological lyme disease is associated with a lymphoctyic infiltrate without evidence of direct infection of peripheral nerves. While commonly self-limiting, treatment with antibiotics may hasten resolution of symptoms. Diphtheria , a once common childhood respiratory infection, produces a neurotoxin which can result in a biphasic neuropathy. This neuropathy begins with paralysis and numbness of

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984-407: A lymphocytic inflammation of peripheral nerves which results in a painful symmetric polyneuropathy. Immune dysfunction over the course of infection may also result in chronic inflammatory demyelinating polyneuropathy or vasculitis induced mononeuritis multiplex . Identifying HIV-associated neuropathy is confounded by the neurotoxic nature of many of the antiretrovirals used to manage the disease, as

1066-441: A much more positive long term prognosis than other etiologies. Bacterial, viral, and spirochete infections all have been associated with inflammatory neural responses. Some of the bacterial agents most associated with neuritis are leprosy , lyme disease , and diphtheria . Viral causes of neuritis include herpes simplex virus , varicella zoster virus , and HIV . Leprosy is frequently characterized by direct neural infection by

1148-553: A number of important early-twentieth-century composers, including Arnold Schoenberg (1874–1951) and Anton Webern (1883–1945), opus numbers became less common in the later part of the twentieth century. To manage inconsistent opus-number usages – especially by composers of the Baroque (1600–1750) and of the Classical (1720–1830) music eras – musicologists have developed comprehensive and unambiguous catalogue number-systems for

1230-400: A painful sensory neuropathy with muscle weakness and atrophy. Deficiency of niacine, vitamin B 3 , causes pellagra which can present with various peripheral neuropathies in addition to keratotic skin lesions. Vitamin B 6 , pyridoxine, has been associated with peripheral nerve damage both in cases of deficiency and excess. Deficiency of vitamin B 12 causes subacute combined degeneration ,

1312-605: A public concert was on 15 November 1920; the London Symphony Orchestra was conducted by Albert Coates . The first complete performance conducted by the composer was on 13 October 1923, with the Queen's Hall Orchestra. The work is scored for a large orchestra. Holst's fellow composer Ralph Vaughan Williams wrote in 1920, "Holst uses a very large orchestra in the Planets not to make his score look impressive, but because he needs

1394-451: A quadruple forte climax with a prominent organ glissando , after which the music suddenly drops to a pianissimo lento before alternating quick and slow sections bring the movement to its pianissimo conclusion. The music of the last movement is quiet throughout, in a swaying, irregular metre , opening with flutes joined by piccolo and oboes, with harps and celesta prominent later. Holst makes much use of dissonance in this movement. Before

1476-726: A result, the plural opera of opus tends to be avoided in English. In other languages such as German, however, it remains common. In the arts, an opus number usually denotes a work of musical composition , a practice and usage established in the seventeenth century when composers identified their works with an opus number. In the eighteenth century, publishers usually assigned opus numbers when publishing groups of like compositions, usually in sets of three, six or twelve compositions. Consequently, opus numbers are not usually in chronological order, unpublished compositions usually had no opus number, and numeration gaps and sequential duplications occurred when publishers issued contemporaneous editions of

1558-689: A sensory neuropathy, affecting primarily the dorsal root ganglion, resulting in a progressive sensory loss associated with painful paresthesias of the upper limbs, or a mixed sensorimotor neuropathy which is also characterized by progressive weakness. Treatment of paraneoplastic syndromes aim for both elimination of tumor tissue via conventional oncologic approach as well as immunotherapy options such as steroids, plasmapheresis or IVIG. Metabolic abnormalities and deficiencies in certain vitamin, particularly B vitamins, are associated with inflammatory degeneration of peripheral nerves. Deficiency of vitamin B 1 , thiamine , causes beriberi which can be associated with

1640-490: A similar effect at the end of Stravinsky's The Firebird , and adds that although battle music had been written before, notably by Richard Strauss in Ein Heldenleben , "it had never expressed such violence and sheer terror". The second movement begins adagio in 4 . According to Imogen Holst, Venus "has to try and bring the right answer to Mars". The movement opens with a solo horn theme answered quietly by

1722-579: A subtype of multiple sclerosis, is characterized by neuromyelitis optica IgG antibodies which selectively bind to aquaporin-4. Optic neuritis is associated monocular vision loss, often initially characterized by a defect in color perception (dyschromatopsia) followed by blurring of vision and loss of acuity. Optic neuritis is also commonly associated with periocular pain, phosphenes, and other visual disturbances. Treatment of acute optic neuritis involves corticosteroids, plasmapheresis, and IV immunoglobulins in additions to disease modifying immunotherapies to manage

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1804-636: A work or set of works upon publication. After approximately 1900, they tended to assign an opus number to a composition whether published or not. However, practices were not always perfectly consistent or logical. For example, early in his career, Beethoven selectively numbered his compositions (some published without opus numbers), yet in later years, he published early works with high opus numbers. Likewise, some posthumously published works were given high opus numbers by publishers, even though some of them were written early in Beethoven's career. Since his death in 1827,

1886-444: Is a common virus which latently resides in neuronal ganglia between active infections. HSV-1 commonly resides in cranial nerve ganglia, particularly the trigeminal ganglia , and may cause painful neuralgias during active periods. It has also been associated with Bell's palsy , and vestibular neuritis . HSV-2 frequently lies within lumbosacral ganglia and is associated with radiculopathies during active infection. Herpes reactivation

1968-437: Is associated with a broad range of neurological manifestations, both during acute infection and during the progression of the disease. During acute infection, both direct peripheral nervous involvement, most commonly bilateral facial palsy, and an acute inflammatory demyelinating polyneuropathy ( Guillian-Barré syndrome ) have been reported. As the disease process progresses, diffuse infiltrative lymphocytosis syndrome may include

2050-402: Is essentially pictorial in idea. Mercury is a mere activity whose character is not defined". This movement, the last of the seven to be written, contains Holst's first experiments with bitonality . He juxtaposes melodic fragments in B ♭ major and E major , in a fast-moving scherzo . Solo violin, high-pitched harp, flute and glockenspiel are prominently featured. It is the shortest of

2132-406: Is in 4 time, as is the broad melody of the middle section, marked andante maestoso , which Holst marks to be taken at half the speed of the opening section. The opening section returns and after a reappearance of the maestoso tune – its expected final cadence unresolved, as in its first appearance – the movement ends with a triple forte quaver chord for the full orchestra. Saturn

2214-463: Is neither conventional nor negligible", and by the time of Holst's death in 1934 the paper's assessment of the piece was "Holst's greatest work": The Sunday Times , too, quickly changed its line. In 1920 its new music critic, Ernest Newman , said that Holst could do "easily, without a fuss" what some other composers could only do "with an effort and a smirk", and that in The Planets he showed "one of

2296-425: Is often treated with acyclovir, although evidence for its efficacy in controlling peripheral neurological manifestation of disease remain poor. Varicella zoster virus , the cause of chickenpox, can be found dormant throughout the nervous system after an initial infection. Reactivation of the virus cause herpes zoster , commonly known as shingles, is seen in a dermatomal or cranial nerve distribution corresponding to

2378-458: Is one of the last romantic melodies Holst allowed himself before turning to a more austere manner in later works. Leo called the planet "the most fortunate star under which to be born"; Short calls Holst's Venus "one of the most sublime evocations of peace in music". Mercury is in 8 and is marked vivace throughout. The composer R. O. Morris thought it the nearest of the movements to "the domain of programme music pure and simple ... it

2460-404: Is quicker than Holst's acoustic version and comes close to matching his 1926 speeds, and in two movements (Venus and Uranus) surpasses them. There were no commercial recordings of the work in the 1930s; timings are given below of a recording representing each subsequent decade up to the 2020s: There have been many adaptations of the suite, and several attempts to add an eighth planet – Pluto – in

2542-569: Is quicker than the acoustic version, possibly because the electrical process required wider grooves, reducing the available playing time. Other, slower, recordings from the 78 era include those conducted by Leopold Stokowski (1943) and Sir Adrian Boult (1945). Recordings from the LP age are also typically longer than the composer's, but from the digital era a 2010 recording by the London Philharmonic Orchestra conducted by Vladimir Jurowski

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2624-486: Is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst." At a Royal Philharmonic Society concert at the Queen's Hall on 27 February 1919 conducted by Boult, five of the seven movements were played in the order Mars, Mercury, Saturn, Uranus, and Jupiter. It was Boult's decision not to play all seven movements at this concert. Although Holst would have liked

2706-586: The Baroque (1600–1750) and the Classical (1750–1827) eras, musicologists have developed other catalogue-number systems; among them the Bach-Werke-Verzeichnis (BWV-number) and the Köchel-Verzeichnis (K- and KV-numbers), which enumerate the works of Johann Sebastian Bach and Wolfgang Amadeus Mozart , respectively. In the classical period , the Latin word opus ("work", "labour"), plural opera ,

2788-478: The Queen's Hall , full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do The Planets , and you've got to conduct." The premiere of The Planets , conducted at Holst's request by Adrian Boult , was held at short notice on 29 September 1918, during the last weeks of the First World War, in the Queen's Hall with the financial support of Gardiner. It was hastily rehearsed;

2870-492: The opus number is the "work number" that is assigned to a musical composition , or to a set of compositions, to indicate the chronological order of the composer 's publication of that work. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, or "Opp." when referring to more than one work. Opus numbers do not necessarily indicate chronological order of composition. For example, posthumous publications of

2952-419: The soft palate and pharynx as well as bulbar weakness several days to weeks after the initial upper respiratory infection, followed by an ascending flaccid paralysis caused by an acute inflammatory demyelinating neuropathy after several more weeks. While antibiotics are effective at eradicating the bacterium, neurological sequelae of infection must be treated with diphtheria antitoxin. Herpes simplex virus

3034-528: The London Symphony Orchestra in the first two recorded performances: the first was an acoustic recording made in sessions between September 1922 and November 1923; the second was made in 1926 using the new electrical recording process. Holst's tempi are in general faster than those of most of his successors on record. This may have been due to the need to fit the music on 78 rpm discs, although later 78 versions are slower. Holst's later recording

3116-964: The Mendelssohn heirs published (and cataloged) them as the Italian Symphony No. 4 in A major, Op. 90 , and as the Reformation Symphony No. 5 in D major and D minor, Op. 107 . While many of the works of Antonín Dvořák (1841–1904) were given opus numbers, these did not always bear a logical relationship to the order in which the works were written or published. To achieve better sales, some publishers, such as N. Simrock , preferred to present less experienced composers as being well established, by giving some relatively early works much higher opus numbers than their chronological order would merit. In other cases, Dvořák gave lower opus numbers to new works to be able to sell them to other publishers outside his contract obligations. This way it could happen that

3198-544: The best work of an artist with the term magnum opus . In Latin, the words opus (singular) and opera (plural) are related to the words opera (singular) and operae (plural), which gave rise to the Italian words opera (singular) and opere (plural), likewise meaning "work". In contemporary English, the word opera has specifically come to denote the dramatic musical genres of opera or ballet, which were developed in Italy. As

3280-800: The body may undergo inflammation, specific etiologies may preferentially affect specific nerves. The nature of symptoms depends on the specific nerves involved, neuritis in a sensory nerve may cause pain , paresthesia (pins-and-needles), hypoesthesia (numbness), and anesthesia , and neuritis in a motor nerve may cause paresis (weakness), fasiculation , paralysis , or muscle wasting . Treatment of neuritis centers around removing or managing any inciting cause of inflammation, followed by supportive care and anti-inflammatory or immune modulatory treatments as well as symptomatic management. Both active infections and post-infectious autoimmune processes cause neuritis. Rapid identification of an infectious cause of neuritis dictates treatment approach and often has

3362-536: The case of Felix Mendelssohn (1809–47); after his death, the heirs published many compositions with opus numbers that Mendelssohn did not assign. In life, he published two symphonies ( Symphony No. 1 in C minor, Op. 11 ; and Symphony No. 3 in A minor, Op. 56 ), furthermore he published his symphony-cantata Lobgesang , Op. 52, which was posthumously counted as his Symphony No. 2; yet, he chronologically wrote symphonies between symphonies Nos. 1 and 2, which he withdrew for personal and compositional reasons; nevertheless,

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3444-466: The cases of César Franck (1822–1890), Béla Bartók (1881–1945), and Alban Berg (1885–1935), who initially numbered, but then stopped numbering their compositions. Carl Nielsen (1865–1931) and Paul Hindemith (1895–1963) were also inconsistent in their approaches. Sergei Prokofiev (1891–1953) was consistent and assigned an opus number to a composition before composing it; at his death, he left fragmentary and planned, but numbered, works. In revising

3526-461: The causative organism, mycobacterium leprae . Leprosy presents with a heterogeneous clinical picture dictated by bacterial titer and inborn host resistance. Tuberculoid leprosy , seen in cases where host immunity is high, is not commonly associated with neuritis. It presents with a low number of anesthetic, anhydrotic skin plaques with few bacilli, the result of a granulomatous process which destroys cutaneous nerves. Lepromatous leprosy , seen when

3608-478: The character of the movement as that of "a clumsy dance, which gradually gets more and more out of hand (not unlike Dukas's Sorcerer's Apprentice ) until, with what seems like a magic wand, all is abruptly swept away into the far distance". The movement, which begins with what Short calls "a tremendous four-note brass motif", is marked allegro in 4 . The music proceeds in "a series of merry pranks" with occasional interjections in 4 , building to

3690-546: The characteristics the composer attributed to the planets may have been suggested by Alan Leo 's booklet What Is a Horoscope? , which he was reading at the time. Holst took the title of two movements – "Mercury, the Winged Messenger" and "Neptune, the Mystic" – from Leo's books. But although astrology was Holst's starting point, he arranged the planets to suit his own plan: ... ignoring some important astrological factors such as

3772-602: The disease process involves sensory, motor, or both sensorimotor nerves. After the lesion has been localized, a more focused investigation may use specific techniques appropriate for the involved nerves. Blood tests should be performed to evaluate blood glucose and serum B 12 levels with metabolites, additional measurement of specific vitamins or toxins may be performed as indicated if the history and physical exam are consistent. Medical tests which are often useful include: nerve biopsy , MRI , electromography , nerve conduction studies . fundoscopy , and lumbar punctures . However,

3854-471: The extra tone colour and knows how to use it". The score calls for the following instrumentation. The movements vary in the combinations of instruments used. In Neptune, two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added. Mars is marked allegro and is in a relentless 4 ostinato for most of its duration. It opens quietly,

3936-415: The first four symphonies to be composed were published after the last five; and (c) the last five symphonies were not published in order of composition. The New World Symphony originally was published as No. 5, later was known as No. 8, and definitively was renumbered as No. 9 in the critical editions published in the 1950s. Other examples of composers' historically inconsistent opus-number usages include

4018-676: The first two bars played by percussion, harp and col legno strings. The music builds to a quadruple-forte, dissonant climax. Although Mars is often thought to portray the horrors of mechanised warfare, it was completed before the First World War started. The composer Colin Matthews writes that for Holst, Mars would have been "an experiment in rhythm and clashing keys", and its violence in performance "may have surprised him as much as it galvanised its first audiences". Short comments, "harmonic dissonances abound, often resulting from clashes between moving chords and static pedal-points", which he compares to

4100-402: The flutes and oboes. A second theme is given to solo violin. The music proceeds tranquilly with oscillating chords from flutes and harps, with decoration from the celesta. Between the opening adagio and the central largo there is a flowing andante section in 4 with a violin melody (solo then tutti) accompanied by gentle syncopation in the woodwind. The oboe solo in the central largo

4182-422: The ganglion in which the latent virus resided. After the herpetic rash resolves, an additional period of postherpetic neuralgia may persist for weeks to months. Antiviral medications, including acyclovir, are effective at controlling viral reactivation. Management of ensuing neuropathic often requires further management possibly including gabapentin , amitriptyline , carbamazepine , or topical lidocaine . HIV

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4264-769: The general public in February 1919, critical opinion was divided. Greene prints a summary of reviews of the first four public performances of the suite (or movements from it) in February and November 1919 and October and November 1920. Positive reviews are recorded in 28 of the 37 papers, magazines and journals cited. A small minority of reviewers were particularly hostile, among them those of The Globe ("Noisy and pretentious)"; The Sunday Times ("Pompous, noisy and unalluring"), and The Times ("a great disappointment … elaborately contrived and painful to hear"). The critic in The Saturday Review wrote that Holst evidently regarded

4346-606: The host lacks resistance to the organism, presents with widespread skin lesions and palpably enlarged nerves. Disease involvement in this form of leprosy characteristically progresses from cooler regions of the body, such as the tip of the nose and ear lobes, towards warmer regions of the body eventually resulting in extensive loss of sensation and destructive skin lesions. Rapid treatment is a critical component of care in patients affected with leprosy, delayed care results in permanent loss of sensation and tissue damage which requires an extensive treatment regime. Lyme disease , caused by

4428-418: The influence of the sun and the moon, and attributing certain non-astrological qualities to each planet. Nor is the order of movements the same as that of the planets' orbits round the sun; his only criterion being that of maximum musical effectiveness. In an early sketch for the suite Holst listed Mercury as "no. 1", which Greene suggests raises the possibility that the composer's first idea was simply to depict

4510-457: The melody of the central section of "Jupiter" for a setting ("Thaxted") of the hymn "I Vow to Thee, My Country" in 1921. The Planets has been taken as an influence by various rock bands , and for film scores such as those for the Star Wars series. There have been numerous references to the suite in popular culture, from films to television and computer games. Opus number In music ,

4592-401: The musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for Neptune was recruited from Holst's students at Morley College and St Paul's Girls' School. It was a comparatively intimate affair, attended by around 250 invited associates, but Holst regarded it as the public premiere, inscribing Boult's copy of the score, "This copy

4674-571: The musicologist Richard Greene both think it likely that another inspiration for the composer to write a suite for large orchestra was the example of Schoenberg 's Five Pieces for Orchestra . That suite had been performed in London in 1912 and again in 1914; Holst was at one of the performances, and he is known to have owned a copy of the score. Holst described The Planets as "a series of mood pictures", acting as "foils to one another", with "very little contrast in any one of them". Short writes that some of

4756-422: The offending agents, although patients will frequently continue to worsen for several weeks after cessation of administration. The accurate diagnosis and characterization of a neuritis begins with a thorough physical exam to characterize and localize any symptoms to a specific nerve or distribution of nerves. An exam will assess the time course, distribution, and severity and nerve dysfunction as well as whether

4838-448: The only times when he could really get on with his own work, which is why it took him over two years to finish The Planets " . She added that Holst's chronic neuritis in his right arm was troubling him considerably and he would have found it impossible to complete the 198 pages of the large full score without the help of two colleagues at St Paul's, Vally Lasker and Nora Day, whom he called his "scribes". The first movement to be written

4920-520: The planets "as objectionable nuisances that he would oust from our orbit if he could". The Times rapidly changed its mind; in July 1919 it called Holst the most intriguing of his compeers and commented, " The Planets still leaves us gasping"; after hearing Holst conduct three of the movements in November 1919 the paper's critic declared the piece "the first music by an Englishman we have heard for some time which

5002-426: The planets in the obvious order, from nearest the sun to the farthest. "However, opening with the more disturbing character of Mars allows a more dramatic and compelling working out of the musical material". Holst had a heavy workload as head of music at St Paul's Girls' School , Hammersmith , and director of music at Morley College , and had limited time for composing. Imogen Holst wrote, "Weekends and holidays were

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5084-400: The premiere his colleague Geoffrey Toye said that a bar where the brass play chords of E minor and G ♯ minor together was "going to sound frightful". Holst agreed, and said it had made him shudder when he wrote it down but, "What are you to do when they come like that?" As the movement develops, the orchestra is joined by an offstage female chorus singing a soft wordless line: this

5166-450: The rate of recovery. Chronic Inflammatory Demyelinating Polyneuropathy (CIDP) is an inflammatory neuropathy, which while pathophysiologically similar to AIDP, progresses over a much more protracted time scale. CIDP has an insidious onset and progresses over months to years, but is otherwise similar to AIDP in serological, CSF, and electrodiagnostic studies. Treatment consists of corticosteroids, with IV immunoglobulon or plasmapheresis as

5248-751: The resolution of an acute infection, commonly an upper respiratory infection or gastroenteritis, due to molecular mimicry between peripheral nerve and microbial antigens. AIDP, which represents the vast majority of Guillain-Barré cases, classically presents with an acute onset, ascending paralysis which begins in the distal extremities. This paralysis may progress rapidly over the course of several days and lead to ventilatory failure requiring intubation. Symptoms will commonly spontaneously resolve after several weeks. Thus, management of Guillain-Barré relies upon supportive care to manage ventilation and feeding until symptoms remit. Adjunctive immunomodulation with plasmapharesis and IV immunoglobulin have both been shown to increase

5330-475: The same opus number was given to more than one of his works. Opus number 12, for example, was assigned, successively, to five different works (an opera, a concert overture, a string quartet, and two unrelated piano works). In other cases, the same work was given as many as three different opus numbers by different publishers. The sequential numbering of his symphonies has also been confused: (a) they were initially numbered by order of publication, not composition; (b)

5412-412: The seven movements, typically taking between 3 + 1 ⁄ 2 and 4 minutes in performance. In this movement Holst portrays Jupiter's supposedly characteristic "abundance of life and vitality" with music that is buoyant and exuberant. Nobility and generosity are allegedly characteristics of those born under Jupiter, and in the slower middle section Holst provides a broad tune embodying those traits. In

5494-436: The spirochete Borrelia burgdorferi , is a tick-borne illness with both peripheral and central neurological manifestations. The first stage of Lyme disease frequently presents with a pathognomonic "bull's eye" rash, erythema migrans , as well as fever, malaise, and arthralgias. Roughly 15% of untreated patients will then develop neurological manifestations, classically characterized by cranial neuropathy, radiculoneuritis , and

5576-469: The subject. Clifford Bax later commented that Holst became "a remarkably skilled interpreter of horoscopes". Shortly after the holiday Holst wrote to a friend: "I only study things that suggest music to me. That's why I worried at Sanskrit . Then recently the character of each planet suggested lots to me, and I have been studying astrology fairly closely". He told Clifford Bax in 1926 that The Planets : ... whether it’s good or bad, grew in my mind slowly—like

5658-428: The subtlest and most original minds of our time. It begins working at a musical problem where most other minds would leave off". Newman compared Holst's harmonic innovations to those of Stravinsky, to the latter's disadvantage, and expressed none of the reservations that qualified his admiration of Schoenberg's Five Pieces for Orchestra . There have been at least 80 commercial recordings of The Planets . Holst conducted

5740-448: The suite to be played complete, Boult's view was that when the public were being presented with a completely new language of this kind, "half an hour of it was as much as they could take in". Imogen Holst recalled that her father "hated incomplete performances of The Planets , though on several occasions he had to agree to conduct three or four movements at Queen's Hall concerts. He particularly disliked having to finish with Jupiter, to make

5822-452: The suite were played were given in 1919 and early 1920. The first complete performance at a public concert was given at the Queen's Hall on 15 November 1920 by the London Symphony Orchestra conducted by Albert Coates . The innovative nature of Holst's music caused some initial hostility among a minority of critics, but the suite quickly became and has remained popular, influential and widely performed. The composer conducted two recordings of

5904-945: The time between its discovery in 1930 and its downgrading to " dwarf planet " in 2006. The most prominent of these was Matthews's 2000 composition, "Pluto, the Renewer", commissioned by the Hallé Orchestra . Dedicated posthumously to Imogen Holst, it was first performed in Manchester on 11 May 2000, with Kent Nagano conducting. Matthews changed the ending of Neptune slightly so that the movement would segue into Pluto. Matthews's Pluto has been recorded, coupled with Holst's suite, on at least four occasions. Others who have produced versions of Pluto for The Planets include Leonard Bernstein and Jun Nagao . The suite has been adapted for numerous instruments and instrumental combinations, including organ, synthesiser, brass band, and jazz orchestra. Holst used

5986-444: The timpani no percussion is used in this movement except for tubular bells at climactic points. At the beginning, flutes, bassoons and harps play a theme suggesting a ticking clock. A solemn melody is introduced by the trombones (Holst's own main instrument) and taken up by the full orchestra. A development of the ticking theme leads to a clangorous triple forte climax, after which the music dies away and ends quietly. Matthews describes

6068-448: The un-numbered compositions have been cataloged and labeled with the German acronym WoO ( Werk ohne Opuszahl ), meaning "work without opus number"; the same has been done with other composers who used opus numbers. (There are also other catalogs of Beethoven's works – see Catalogues of Beethoven compositions .) The practice of enumerating a posthumous opus ("Op. posth.") is noteworthy in

6150-440: The underlying neuropathology associated with the acute inflammatory episode. Guillian-Barré Syndrome is a class of acute polyneuropathies that present with flaccid paralysis, they include acute inflammatory demyelinating polyradiculoneuropathy (AIDP), acute motor axonal neuropathy (AMAN), acute ataxia, and Miller-Fisher syndrome . These disorders are post-infectious syndromes in which symptoms often present several weeks after

6232-413: The view of Imogen Holst , it has been compromised by its later use as the melody for a solemn patriotic hymn, " I Vow to Thee, My Country "; the musicologist Lewis Foreman comments that the composer did not think of it in those terms, as shown by his own recordings of the movement. The opening section of the movement is marked allegro giocoso , in 4 time. The second theme, at the same tempo,

6314-624: The work, and it has been recorded at least 80 times subsequently by conductors, choirs and orchestras from the UK and internationally. The Planets was composed over nearly three years, between 1914 and 1917. The work had its origins in March and April 1913, when Gustav Holst and his friend and benefactor Balfour Gardiner holidayed in Spain with the composer Arnold Bax and his brother, the author Clifford Bax . A discussion about astrology piqued Holst's interest in

6396-485: The works of composers such as: Neuritis As inflammation is a common reaction to biological insult, many conditions may present with features of neuritis. Common causes include autoimmune diseases, such as multiple sclerosis ; infection, either bacterial, such as leprosy , or viral, such as varicella zoster ; post-infectious immune reactions, such as Guillain-Barré syndrome ; or a response to physical injury, as frequently seen in sciatica . While any nerve in

6478-408: Was Holst's favourite movement of the suite. Matthews describes it as "a slow processional which rises to a frightening climax before fading away as if into the outer reaches of space". The movement opens as a quiet adagio in 4 and the basic pace remains slow throughout, with short bursts of animato in the first part and a switch to andante in 2 in the later section. Apart from

6560-518: Was Mars in mid-1914, followed by Venus and Jupiter in the latter part of the year, Saturn and Uranus in mid-1915, Neptune later in 1915 and Mercury in early 1916. Holst completed the orchestration during 1917. Just before the Armistice, Gustav Holst burst into my office: "Adrian, the YMCA are sending me to Salonika quite soon and Balfour Gardiner , bless his heart, has given me a parting present consisting of

6642-408: Was unusual in orchestral works at the time, although Debussy had used the same device in his Nocturnes (1900). The orchestra falls silent and the unaccompanied voices bring the work to a pianissimo conclusion in an uncertain tonality, as a door between the singers and the auditorium is gradually closed. Imogen Holst wrote of the 1918 premiere under Boult: When the music was first introduced to

6724-409: Was used to identify, list, and catalogue a work of art. By the 15th and 16th centuries, the word opus was used by Italian composers to denote a specific musical composition, and by German composers for collections of music. In compositional practice, numbering musical works in chronological order dates from 17th-century Italy, especially Venice . In common usage, the word opus is used to describe

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