In my recent article, I briefly discussed character and astrology, which leads me neatly to Gustav Holst, the English musician, whose 150th anniversary we are celebrating.

Holst was born in Cheltenham in 1874 into a family of musicians.

His Cotswold environment played a significant part in his life and music, including his 1900 Cotswold Symphony.

Not far away, in the village of Down Ampney on the Gloucestershire/Wiltshire border, Ralph Vaughan Williams was born in 1872.

They met at the Royal College of Music in 1895, a friendship and musical collaboration that was to last until Holst’s early death in 1934.

Holst’s interest in character types is reflected in his music and writing.

This, in turn, was allied to his growing interest in astrology, which is most significantly reflected in his most famous musical work, "The Planets", composed in 1914.

The "Mars, the Bringer of War" came first, with the complete suite finished in 1917 and first performed in 1918.

This became one of the most performed pieces of music ever.

Holst’s interest in "character" links him to Thomas Hardy, whose assertion that a perception of the failure of things to be what they are meant to be is both central to everyday life and character in his novels.

One significant focus on character that appealed to Holst was in Hardy’s writing about Egdon Heath, near Hardy’s home in Dorset.

"A place perfectly accordant with man’s nature – neither ghastly, hateful nor ugly; neither commonplace, unmeaning nor tame; but like man, slighted and enduring; and withal singularly colossal and mysterious in its swarthy monotony."

This is from "The Return of the Native", but could be applied to many other novels, for example, his last, "Jude the Obscure".

Holst wished to write a musical version of "Egdon Heath" and wrote to Hardy asking his permission, who agreed and invited Holst to visit Dorset.

They strolled the Heath that summer and it was much admired by Holst; however, Hardy told him that to see the Heath at its best he should come in November.

Holst wrote his piece in 1927 and Hardy accepted an invitation to the premiere in London in 1928, but sadly died just before the performance.

Vaughan Williams (VW) wrote that "Gustav Holst was a great composer, a great teacher, and a great friend", and recognised that Holst was, despite his many illnesses, dedicated to teaching throughout his life, of school children and adults, especially working-class people who would not normally have access to such opportunities.

He wrote many choral works for his students to learn and sing, for example at Morley College for working men and women, becoming the director of music there.

Holst’s commitment to teaching and learning did not leave him much time for his ‘own’ composing, but that was one of the many aspects of his virtuous practice.

Both Holst and VW had a major influence on the path of British music, rediscovering music neglected for centuries, like Tallis and Purcell, and wanting to shake off the domination of nineteenth-century German symphonic music.

In their joint quest to reignite an interest in English music, they took walking holidays collecting folk tunes, an interest they shared with their contemporary Cecil Sharp.

Holst in particular inspired the next generation of composers like Benjamin Britten.

Holst’s investigation of astrology was closely allied with an interest in religions and other belief systems, and in his early days in London in the 1890s, he became drawn to socialism.

He read and admired William Morris, joined the Hammersmith branch of Morris’ Socialist League, and met a life-long friend in George Bernard Shaw.

He also met Isobel, his future wife and life-long helper.

In many ways, Holst left us a legacy to admire, including his insistence that "music is a part of life that cannot be done without", something we should always celebrate.