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(cup noods)

leslie wink

04/02/26

the

planets

THE VOID! Outer space and all its peculiarities, wonders and immensity. My obsession knows no bounds, and neither does the ever-expanding observable universe.

What a delight it is to have then come across Gustav Holst and his seven-movement orchestral suite, aptly named The Planets, composed in 1917.

I frequently close my eyes and imagine myself looking out of the fore porthole of a spaceship as I journey past our neighbouring celestials, envisioning the type of music to supplement my adventure. A few film scores and minimalist compositions have paired well with my treks, but nothing beats Holst’s interpretation of a flyby.

Imagine with his movement Saturn at 4:30 onwards: through your window you first see the rings up close, then, suddenly, the vastness of the planet engulfing your entire view, your eyes widened in disbelief after seeing nothing but black for months.. with this piece I am there, experiencing every second.

My favourite movement is Venus. At the time of composition, soviets had not explored this planet (neither had humanity invented a space-piercing rocket, let alone explored any planet for that matter), and so our imaginations ran wild at the thought of other civilisations living in our solar system. Mars and Venus were very much seen as potential life-bearing planets due to being in the goldilocks zone, as well as being a similar size to earth. Venus in particular was thought to be lush and tropical.

Holst undoubtedly was inspired by the etymology of the planets themselves, their names stemming from Roman mythology with Venus being the ‘Goddess of Love and Beauty’ which may’ve culturally fed into the idea of Venus being a paradise. I’m not digressing, I promise - just listen to Holst’s Venus as attached above, and suddenly you’re flying past a planet full of life, with earth’s exoticness dialled up to 10. It’s stunning and inspiring - with eyes closed I see myself on a maiden voyage to Proxima Centauri, waking up to humanity’s first exoplanet, rich with green and blue.

02/02/26

magic

in

modernity

I am perpetually in search of magic and wonder in the modern world. The western consensus of rationalism, science, and secular materialism "disenchanting" much of modern life has permeated my twenties. I fill the void with.. more void (I am obsessed with space science and astronomy), but I remain detached as a mere enthusiast.

Recently, magic has found its way back to me in the form of classical music. Centuries of sound are begging to be studied, to be cast again through musical conduits - the instruments of wizards and witches.

Conductors wave their wands, spellbinding us with intricate melodies of days long gone. These spells can heal; control our mood; mitigate pain; boost energy and focus; unite people.

The Archmage composers of old may have left this earthly realm, but their spirits and legacy endure through grimoires abundant; sheet music detailing how to cast each incantation with minute detail.

Sorcerers learnt how to harness its power in the 17th century (the Baroque period), and we have since cumulatively built upon this arcane ability through mastery and experimentation.

I’ve squeezed every magical metaphor I can currently conjure, but the sentiment derives from my unerring opinion: that music, and its power over the human soul, is the last inexplainable phenomenon we have in a rational, scientific, and secularly materialistic world.

And with this I bestow a composition encapsulating this idea and my sentiments surrounding it - “Fantasia on Greensleeves” composed by Ralph Vaughan Williams in 1928, who used an English folk melody that has been twisted, transformed and treasured over almost 500 years. It is a tune frequently associated with fairies and enchanted creatures in folklore. Enjoy.

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