Indeed, Holst's working title for The Planets on its first publication (along with his name as "von Holst," soon to be changed in deference to anti-German sentiment) was Seven Pieces for Large Orchestra. The simple answer is that Pluto was only discovered and named in 1930, long after The Planets took final form. For instance, he uses 6/8 bouncing quavers in the winds, semiquavers (grouped in fours) in the strings and then crotchets within the ensemble which give a 3/4 feel. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. The work sounds just as it did when Holst used to conduct it before a Queen's Hall audience," even though she allows that by having to record each side straight through "there may be details which Holst would have liked to improve, but the performance as a whole is a magnificent achievement.". Composed By - Gustav Holst; Notes. Holst composed The Planets from 1914-16 after studying astrology. Yet unlike, say, Mussorgsky's Pictures at an Exhibition or Ravel's Tombeau de Couperin that were conceived for the keyboard and only later adapted for orchestra, Holst wrote the piano version of The Planets largely out of necessity and with the full intention of orchestrating it (and apparently with no thought of public performance, as it was only published posthumously). (When he became interested in Hindu literature through translations, he proceeded to learn the original Sanskrit and wrote several Hindu-inspired works including two operas, Sita and Savitri.) But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. The Planets - Wikipedia Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. - No. From that point onwards, he didnt believe in astrology (apart from the odd horoscope reading) which is ironic considering how much joy this piece had brought to others. Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. Using the new technology, Holst and the London Symphony rerecorded The Planets (plus Mercury's companion "Marching Song") between June and November 1926 (and, interestingly, he reverted to the faster tempo of the first acoustical Saturn). The suite was written between 1914 and 1916, with it still, even after 100 years, being one of the most recorded and well-loved orchestral works (especially within Holst repertoire). To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. The swelling brass and slow waltzing strings are met with moments of poignant beauty in the glorious tune now known as 'I Vow to Thee My Country'. Your email address will not be published. (Please understand: I'm not a musical snob beyond my recordings of serious music, I have (and enjoy!) 5. The Planets is an absolutely remarkable suite of orchestral music. Jupiter, the Bringer of Jollity 5. Key/tempo of playlist SummerClassical By Dominia | Musicstax This theme stems into theme four also, with variants being played. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. I must emphasize that this does not purport to be a comprehensive or definitive survey, as I've only focused on the pioneering recordings that strike me as having significant historical and stylistic interest. Opening with a flute rendition of Holst's Jupiter, the Bringer of Jollity from The Planets, Cerberus's "IV.THE THUNDER" in both Japanese and English combines beautiful and emotional lyrics reflecting her love for Fenrir with an equally amazing orchestra. Rhythm to Holst was the most important thing in life, and in this recording he never for one moment allows the rhythm to sag, with the result that Mars sounds even more relentless than usual." The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. [Holst - The Planets] notes by Paul Serotsky Yet the harmonies are bitter-sweet and the themes are fragmented, suggesting that repose is at best temporary and that far more challenges remain in the human journey. Imogen called the tempos "a revelation" and gave as an example that although Venus is marked adagio, Holst's recordings suggest more of an andante (that is, only moderately slow). Consistent with his other rousing recordings, he leads a full-blooded reading of The Planets, even faster than Holst's (except for the central Jupiter hymn) and with sharper contrasts and more emphatic climaxes. One of the most striking aspects about this movement, for me, is the lack of musical transitions and Holsts quite frequent use of time changes just when you may be feeling comfortable with a theme. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. "The Planets: Jupiter, the Bringer of Jollity" Score Reduction and Analysis Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 In the Arts Gazette, Dunton Green observed: "It was an injustice to the composer to rob his planetary system of the two stars whose soft light would have relieved the fierce glare of the five others." Finally, Neptune brings mystery, the paranormal and the unknown to the final concoction. THE RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . Indeed, robbed of its usual quirky edge, his Mars is suffused with a world-weary air and casts a pall over the rest of the work that is never fully dispelled; its final chords seem weighed down with regret, aptly leading into a Venus that seems less an aura of peace than a futile plea. Answer (1 of 3): Another Quorean has already provided a very comprehensive list, including all the ones that I could think of but one film composer in particular comes to mind who has made more use of Holst's work than most: Not only 'Jupiter', but the influence of the whole of 'The Planet Suite'. Gustav Holst was an English composer, who wrote The Plants Op. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! Theme five is an amalgamation of the pesante theme with the fanfare theme, which gradually gets a little faster before we arrive at theme six. The last melodic cell is built up throughout different instruments (its repeated 12 times to be precise!) Burnett James adds that while traditional astrology attempts to predict individual destiny from one's time and place of birth, Holst was more intrigued by the associative emotional connotations of each planet and in particular the psychological attributes that Leo ascribed to each planet (although Leo later would come to consider the sun to be dominant). The Sciences Jupiter, the Bringer of Jollity Bad Astronomy By Phil Plait Dec 24, 2010 10:00 AM Newsletter Sign up for our email newsletter for the latest science news The line between amateur and professional astronomer has always been thin. After a brief backward glance and a massive organ pedal point, a few fragments of the spirited theme linger as "faint stars in a silent void to prepare us for the final vision" (Freed). Burnett James paints Holst as a lonely and tragic figure, assailed with agonizing spiritual blight and a bleak despair that enveloped his whole being (and which ultimately led him to increasingly dissociate his later music from emotion). As the result of this reticence, Crankshaw asserts that the mighty force of Holst's augmented orchestra "is used with such discrimination that the overall impression is not of Straussian sumptuousness but of many-stranded colour-schemes which coalesce only occasionally into full emblazonment." Such associations aside, in purely musical terms the movement begins in a soft piano menace, builds to a terrifying triple forte (fff) climax as instruments pile on, is halted by a massive discord followed by a slower 5/2 section still "haunted by the martial rhythm" after which the opening "returns with increased, almost hysterical, ferocity, ending with grinding chords" (Kennedy) as strings, brass and tympani dissonantly pound out the initial figure quadruple forte (ffff) as its rhythm finally disintegrates. David Trippett observes that The Planets's popularity soared as conductors vied with each other to present local premieres; one such dispute was settled when orchestras in Chicago and New York agreed to introduce The Planets to North America on the same night. John Marsh Indeed, excerpting the full work became prevalent. While Tomita's structure seems mostly random and the nexus between the original and his contributions is often obscure, he does produce an impressive amount and array of fresh sound, and his abundant technical facility, sense of rhythm, feeling for spatial display and overall flair for invention are fully apparent. Subscribe to Plus. Jupiter is named after the Roman king of the gods. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. As compiled by Greene, once the entire work was heard, many critics condemned reductions to mere excerpts and were generally ecstatic in praising the immediacy, eloquence, clarity of expression, originality and importance of the entire work (although he further attributes the devotion of English critics to a reflection of national pride, whereas others' views were more tempered, with some dwelling on its derivative nature and one dismissing it as "an anthology of musical platitudes. Claiming inspiration from the innovative orchestration of Rimsky-Korsakoff, Stravinsky and Ravel, his three earlier albums (Snowflakes are Falling the Newest Sound of Debussy, Pictures at an Exhibition and Firebird) took their cues from Walter Carlos's 1968 Switched-On Bach by substituting electronic sounds for the actual instruments and thus generally respecting the structure and content of the originals. (Ian Lane) As with English madrigals and folk songs, Holst was fascinated by the use in Eastern music of non-Western scales, spare textures and unconventional time signatures of 5, 7 and even 21 beats (which he declared were more suitable for setting English words) and incorporated those features into two operas and dozens of settings of Indian religious texts. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. Holst first recorded The Planets with the London Symphony in the acoustic process, in which sound was gathered in a horn directly coupled to the cutting stylus. The Planets Op.32 : VI Uranus, the Magician. Edit Release New Submission. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. The Planets, Op. 32 | work by Holst | Britannica Vernon Leidig 2nd B-flat Trumpet Part Grade: 3 Item: 00-PC-0000054_T2. Any meaningful consideration of Planets recordings begins here. Matthews agrees that "Holst's ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.". Jupiter (Bringer of Jollity): Score - Sheet Music Plus Jupiter Gustav Holst's Planets don't exactly line up like the real ones he skips Earth and Pluto, which wouldn't be discovered until a dozen years after The Planets premiered. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. Halbrick notes that the form moves from tightly structured to more open-ended. In a program note for the 1920 public premiere, Holst himself commented: "These pieces were suggested by the astrological significance of the planets; there is no programme music in them, neither have they any connection with the deities of classical mythology bearing the same names. After the relative handful of recordings during the first half-century of its existence, and nearly a decade after Karajan became the last outsider to break the British hegemony of artists, the marketing floodgates opened in the early 1970s with a sudden abundance of a half-dozen new Planets LPs, to be joined since then by dozens more. With the harmonic ostinato (the harmonic intervals being of two half-diminished seventh chords Bdim7 and Adim7) and the oscillating chord changes between the flutes and harps creates a dark image for the listener. Freed concludes that the impact is to "inhabit the outer regions of a fantasy infinity in which there are no answers and even the questions are unspoken.". The headnotes below list the conductor and the orchestra in bold (the choir's role is too brief to warrant mention), followed in parentheses by the year, original label and format and, if different, the reissue I heard. Jupiter - The Bringer of Jollity The fourth movement of the suite, Jupiter is perhaps the most famous of them all, especially the main theme that is heard in the middle of the movement. Holst's daughter Imogen recalled that while Holst did cast horoscopes for friends, he was less interested in fortune-telling than in understanding human behavior. Jupiter--Bringer of Jollity - Alfred Music Silencing the organ, percussion, trumpets, trombones and tuba, Holst 's texture "concentrates on delicate and lucid tone colors" of woodwinds, harps, celesta and solo violin (Halbreich), creating "an essay in benignity" in which "our feet have been placed in some posture of security" (Crankshaw), "bringing to the suffering world a vision of heavenly peace" as Venus "sails softly across the evening sky, bringing with her a still, starlit repose" (James) and "the skies are soothed by a gentle benediction" (Freed). $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. Jupiter, the Bringer of Jollity - A Music Analysis Lesson (Distance They play a fifth interval, then drop a semitone, which is repeated throughout this section. In theory the pipe organ can overcome much of this problem with its panoply of distinctive voices, awesome power and ability to preserve a sustained mood (especially in the atmospheric Neptune), but a version by Peter Sykes (on a 1996 Raven CD) all too often comes across as a homogeneous sonic blur compared to the original. As Schoenberg put it in his own anarchistic program note: "The music seeks to express all that swells in us subconsciously like a dream; which is a great fluctuant power, and is built upon none of the lines that are familiar to us; which has a rhythm, as blood has a pulsating rhythm, as all life in us has its rhythm; which has a tonality, but only as the sea or the storm has its tonality; which has harmonies, though we cannot grasp or analyze them nor can we trace its themes." While Karajan closely follows the score, his tempos are significantly slower than Holst's and portions can seem mechanical, notably a humorless Jupiter in which the gear-shift for a ponderous central hymn seems an incongruous intrusion. Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano "), Perhaps in keeping with his visionary outlook and disdain for fame, unlike nearly all other composers Holst thwarted popular expectation by resisting the temptation to follow The Planets with a successor of a similar structure or style. Download 'Symphony No.6 in D major (2)' on iTunes, This image appears in the gallery:A beginners guide to Gustav Holsts The Planets Suite. A beginner's guide to Gustav Holst's 'The Planets' Suite - Classic FM His Planets belies his reputation for levelheaded performances of precision and polish that is, being more dependable than exhilarating and in the process further dispels notions of Holst's own artistic temperament as methodical and cautious. The contrasting timbres is a testament to how good Holst is at both composing and orchestrating as this movement is bursting to the seams with incredibly memorable themes. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. So what makes the twinkling sound within this movement? Jupiter, the Bringer of Jollity As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. Along with this rhythmic ambiguity, there is no set key to the piece, you can make a guess of where the tonality may be, but it is quite tricky. What the title doesn't suggest, though, is that I was [i]not[/i] doing okay this month. That is just about the finest imagery of Jupiter from the ground I have ever seen! At least to my ears, the result here is more desecration than decoration of Holst's concept. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. () - Wikipedia If nobody likes your work, you have to go on just for the sake of the work. 4. Look at the detail: the Great Red Spot . With these new lines of interest, Holst started to learn how each planet bears a different characteristic in terms of astrology, and what this means within the bigger picture. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). A callous texture is imposed by having the strings play the ostinato col legno (using the wooden back of the bow rather than the hair hardly a favorite technique of artists cherishing their precious instruments), with the harps providing a cavernous edge by playing along in their lowest register. James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." In the interim, Holst himself conducted just Venus, Mercury and Jupiter in April 1919 at Queen's Hall and Henry Wood led the same movements that December, setting a precedent that would be followed for several years until the full orchestral score was published in late 1921. Saturn, the Bringer of Old Age Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. VIDEO COMMENT Holst's "Jupiter" +9 - As long as it's played well it sounds amazing on anything: : Gustav Holst - A Fugal Overture (1922) +3 - Holst didn't write a movement for Earth, but the Fugal Overture would be an interesting insertion . Come to think of it, he might also find it a little embarrassing to be told that his suite is shy one planet, although had he kept up with astronomical findings he would have learned of the discovery of the planet Pluto in 1930. Yet Holst considered its message to be not only physical decay but a vision of fulfillment, and indeed in the subdued coda the frustration and angst of inevitable decline melts into acceptance. The strings play col legno which means that the players play with the wood of their bow, not the hair. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). All of these different quirks creates this exciting, fast-paced movement which is slotted in near the middle of the suite (which correlates with it being written last in 1916). Ob. Uranus, the Magician 7. Holst's love of English folk song and dance is readily demonstrated here. This makes the piece incredibly enchanting, enthralling and completely other-worldly. 03 Mar 2023 23:14:51 Equally anomalous, in lieu of the general tempo slowdown common with conductors over the course of long careers, Boult's five studio Planets follow no pattern; thus, for example, his Saturn swings from 8:15 in 1945, to 8:53 in 1954, to 8:24 in 1960, to 9:09 in 1967, to 8:23 in 1978. In notes to his 1967 recording, Boult expressed the hope that his BBC set "came near the composer's intentions" and that his subsequent recordings, while taking advantage of technical improvements, would "still sound faithful and authentic." Your Amazon Music account is currently associated with a different marketplace. Within the basic tempos Imogen calls his beat "clear and unfussy. The sixth movement of the suite is dedicated to the planet Uranus The Magician. Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter from the Planets 8. Sell a . The fidelity (possibly goosed in digital transfers) is markedly improved over the predecessors', displays a greater realm of textures, especially in the delicate instrumental interplay of Venus, and allows finer appreciation of the magnitude of Holst's flair for colorful orchestration. Apparently referring to a rapid triplet figure, Sargent envisions the planet Mars, "laughing in shouts of exultant ferocity," as it soars over the turmoil of mankind's hatred, anger, violence and destruction. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. Saturn, the Bringer of Old Age 6. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. Jupiter (Bringer of Jollity): 2nd B-flat Trumpet Karajan's was the only other Planets (aside from Boult and Sargent remakes) to emerge during the entire decade of the 'sixties. Jupiter: The Bringer of Jollity (132kb): The spirit of this music is very much in keeping with the astrological significance of Jupiter as the planet of benevolence and generosity. The movement's heart harbours a grandiloquent tune, intended to portray Jupiter taking his ease (apparently, Holst was not thrilled to see this hijacked for a patriotic hymn), and recalled briefly during the resplendent coda. Jupiter (Bringer of Jollity) pour orchestre symphonique. It is the fifth planet from the sun and is another gas giant. That said, all of Boult's Planets recordings are splendid except for the 1960 LP with the Vienna State Opera Orchestra which is crudely played with weak ensemble. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. This movement Read more, Gustav Mahler: Symphony No.2 (Movement II) Movement II Once Mahler had completed the Second Symphony, he became troubled as to where the Andante movement should be placed. The reason is unclear upon reflection did Holst feel a need to correct the original pacings, or perhaps were his own views capricious (and thus should not be taken by others as definitive)? Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. Others, though, question the semblance of The Planets to prior tone poems, as they note that it is far longer than such typical single-movement works or even Debussy's La Mer or Nocturnes (Matthews), nor a collection of short pieces (like Mussorgsky's Pictures at an Exhibition or Elgar's Enigma Variations) (Matthews), and a far less literal depiction than the tone poems of Strauss or Delius (Lee). The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. Completed in the summer of 1893, the Andante Read more, Gustav Mahler Symphony No.2 (Genesis & Movement I) Genesis In 1888, when Gustav Mahler began working on the first and second movements of his Second Symphony, he had completely immersed himself in paradoxical Read more. To contrast the previous, quite solemn feel to the movement, there is an outburst within the orchestra, which could mean a plethora of different things. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. This movement in general is quite unconventional, which has been said to represent the idea that Uranus as a planet moves on its own side axis, which in itself is different. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. Gustav Holst: The Planets Suite - AquarianAge "As a rule," he said, "I only study things that suggest music to me. A fanfare from the trumpets, trombones and timpani announce the arrival of this movement in style as this simple melodic cell is used often throughout the movement. Holst's love of English folk song and dance is readily demonstrated here. Orchestra Sheet Music. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. I do believe that this movement provides a representation for the prime of life, making it at the centre of musical expression and impressive melodies which create a feel-good wave of sound for the listener.
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