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The Planets is a 2019 BBC/PBS/Tencent/Open University television documentary series about the Solar System presented by Professor Brian Cox [2] in the UK version and Zachary Quinto in the US version. [ 3 ]
This is a discography of commercial recordings of The Planets, Op. 32, an orchestral suite by Gustav Holst, composed between 1914 and 1916, and first performed by the Queen's Hall Orchestra conducted by Adrian Boult on 29 September 1918. It includes the composer's own recordings made in 1922–1923 and 1926.
Professor Brian Cox journeys to the volcano worlds of the solar system and explore alien landscapes bursting with fire and ice. There are planets and moons covered in volcanoes, with eruptions so violent they reach into space. Understanding what makes these worlds active is critical in the search for life beyond Earth.
Sent to space aboard NASA’s twin Voyager probes, the records were designed as the first recorded interstellar message from humankind to potential intelligent life in the cosmos.
HOLST the planets York2 "World Premiere Recording 4 hands one piano" publisher Black Box. and GUSTAV HOLST THE PLANETS "A World Premiere The Composer's own TWO PIANO VERSION" publisher FACET. Frankk74 09:49, 23 February 2009 (UTC) Note there is also an Organ version which was transcribed from the Orchestral version by Peter Sykes publisher Raven.
Alan Keith published a book about the music played in the show in 1975. [11] The Decca Record Company published a successful ten-volume series of records with the title The World of Your 100 Best Tunes. [12] The BBC published a six-CD collection of the music selected by the final poll listed above.
The Living Planet: A Portrait of the Earth is a BBC nature documentary series written and presented by David Attenborough, first transmitted in the UK from 19 January 1984. The sequel to his pioneering Life on Earth, it is a study of the ways in which living organisms, including humans, adapt to their surroundings. Each of the twelve 55-minute ...
Only Visiting This Planet, often ranked as Norman's best album, [10] "mixed his Christian message with strong political themes", and "was meant to reach the flower children disillusioned by the government and the church" with its "abrasive, urban reality of the gospel". [10] In a 1980 interview, Norman explained its purpose:
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