Sir Colin Davis and the London Symphony recorded this rendition of Holst's most famous work in 2002. While many less-wise conductors might have tried to somehow put their own stamp on this well-known suite, Davis instead opted for a more hands-off approach. He allows the music to speak for itself through the orchestra, and the London Symphony executes their rendition with the clarity and precision that have been their trademarks for quite a while. To both Davis and the orchestra, Holst's intentions in the music are crystal-clear and need little interpretation. Holst was an accomplished orchestrator and a listener can hear through the recording that the music is a joy for the musicians to play, particularly in the fourth movement. The level of sincerity that Holst achieves in the suite and that Davis and the LSO preserve throughout their rendition make this the Planets recording that I always come back to.
The English lutenist Elizabeth Kenny devises unusual programs with her group Theatre of the Ayre, and this is one of the best. Kenny examines the masque itself, the imperfectly understood English court entertainment of Italian origin, that encompassed song, dance, theater, and even distinctive stage and costume design. It's difficult to capture on a CD (really a full-scale re-creation would be the way to go, if an organization with the magic combination of funding and inspiration could be found), but Kenny does her damndest. The Masque of Moments is, as the title suggests, a kind of masque compilation, a collection of pieces that did or might have been used in masques, and the main thing Kenny is after is to show what a varied entertainment it was, including drinking genres not usually connoted by the word "courtly;" polyphonic pieces that gain greatly from being placed in context and not in a rarefied realm of abstract music; lovely little anonymous instrumental pieces (such as Robin, track 15); the...