Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. 8. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. Greene suggests that Holst, born under the sign of Virgo, was ruled by Mercury, and indeed credits his curiosity and intellect to the mental attributes of that planet (even though his approach to composition was methodical rather than spontaneous). Smooth Classics with Myleene Klass James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." 7 images This makes the piece incredibly enchanting, enthralling and completely other-worldly. A Bringer of Jollity - sites.psu.edu What about Pluto? Recurring 3-note ostinato. You might also enjoyEdvard Grieg:Peer Gynt Suite, Your email address will not be published. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. What can we learn from these esteemed messengers? 5. jupiter, the bringer of jollity analysis - lindoncpas.com Fortunately, a broadcast of their February 14, 1943 concert Planets has been preserved (on a Cala CD) that complements the studio version with an altogether more gripping account that wastes no time in staking its claim ignoring Holst's piano dynamic marking, Stokowski plunges into Mars at full boil and never relents, building tension to the breaking point in each of its three sections and then proceeds to inject each of the following movements with heartfelt personal touches. Jupiter starts with covert excitement with a fast three-note figure played by the violins, which has been said to represent the rotation of Jupiter (as it has the fastest rotation of all the planets). "And then," he concluded, "recently the character of each planet suggested lots to me.". A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. I have always interpreted this build up section to be like a message between the planets, with the different instruments representing the different characteristics of the planets. [Holst - The Planets] notes by Paul Serotsky At first he wanted to set to music a group of hymns from the Rig Veda, the oldest Hindu text, but "finding the English translations he discovered were hopelessly stilted, Holst decided to learn Sanskrit so that he could translate the words to his own satisfaction. Reviews. Gustav Holst: The Planets: IV. Jupiter, The Bringer of Jollity What the title doesn't suggest, though, is that I was [i]not[/i] doing okay this month. As Holst has not used lots of different themes, more he has stretched and varied a small selection, the excitement from this piece comes from short bursts of sound, which are usually initiated by the brass. Thus his Mars exudes a snarling menace and gallops ahead as though chased by fear, his Mercury sweeps aside any sense of polished grace as it boils over with irrepressible energy, the instruments in Jupiter fairly explode in joy as they jostle for attention, and Uranus becomes a heart-pounding march that heightens the repose of its final minute. 6. The Planets is best known for his orchestral composition. While taking full responsibility for the musical judgments, I've done no independent research and gratefully acknowledge the following sources for the facts and quotations in this article: Boult, Sir Adrian: notes to his New Philharmonia LP (Angel S 36420, 1967), Crankshaw, Geoffrey: notes to the Marriner/Concertgebouw LP (Philips 950042, 1978), Foreman, Lewis: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Freed, Richard: notes to the Susskind/St. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. Commentators count among its many and diverse influences: the flexible rhythms of Thomas Morley and other English madrigalists (Douglas Lee); Berlioz's seminal Treatise on Orchestration which Holst absorbed and used as a springboard to discover sonorities of astounding originality (Harry Holbreich); Debussy's expanded orchestral palette that broke the grip of Teutonic standards upon English music (Lewis Foreman); the orchestral power and rhythmic vigor of Stravinsky's Rite of Spring (Len Mullinger); the tension and crossing between the fading Edwardian spirit (as embodied in formal education) and the rising Jazz Age (as reflected in kaleidoscopic student vulgarity) (Richard Greene); the idealistic philosophies of Walt Whitman and William Morris (Colin Matthews); a blend of Hindu philosophy and English folksong that set Holst on a path far from the mainstream of traditional European form in which his early works reveal a thorough grounding (Matthews); and exploration of folk music and modes of eastern scales and rhythms that induced individual flavors and an escape from Anglo-German melody (Arthur Hutchings). Jupiter--Bringer of Jollity - Alfred Music 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. Bsn. Holst's own imagination had been stimulated by many things, not the least of which was the great literature of English folk songs, introduced to him by his life-long friend, Ralph Vaughan Williams. Uranus expresses magical forces, animation and playfulness to the mix. Required fields are marked *, Gustav Mahler: Symphony No.2 (Movement III) Movement III Also composed in the summer of 1893, the third movement was originally labelled as the second movement, as it bears many similarities to Todtenfeier. While Matthews claims that "in the process I came perhaps closer to Holst than I had expected," to me much of it sounds closer to Charles Ives. THE RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . 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. Gustav Holst - The Planets - Jupiter, the Bringer of Jollity - reddit 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. 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. Asteroids And if Pluto was not enough to complete The Planets, in 2006 the Berlin Philharmonic commissioned four more pieces by diverse composers (from Finland, Germany, Britain and Australia) for an integral recording led by its music director, Simon Rattle (on an EMI CD). Billed annually at $39.99 Elegance is how the passage is composed of such a limited set of materials. If Holst's recordings were meticulous translations of his score into sound, Coates's is a deeply inventive interpretation that opened the door for others to approach it fearlessly with their own notions of personal freedom. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. Was Holst implying that the predominant psychosis of mankind, from which all human activity flowed, was steeped in and governed by aggression, hostility and conflict (hardly a surprising outlook on the brink of a war that threatened to be of unprecedented scope and destruction)? Ive worked out that the first section is in E minor, but after that point is goes between C minor, E major and Db minor. 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. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. A beginner's guide to Gustav Holst's 'The Planets' Suite - Classic FM The strings play col legno which means that the players play with the wood of their bow, not the hair. Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. On his website Tomita lists a huge gamut of signal generators, oscillators, modulators, filters, phase shifters, mixers and more that were used to produce his Planets rather ironically, more pieces of equipment than the number of instruments that would be used by a traditional orchestra to perform the original. 3:52 . The theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. See the full gallery: A beginners guide to Gustav Holsts The Planets Suite, : A beginners guide to Gustav Holsts The Planets Suite, Download 'Symphony No.6 in D major (2)' on iTunes, A beginners guide to Gustav Holsts The Planets Suite. Tempos in Mars and Jupiter are significantly slower than with Holst or Coates, imbuing these movements with a deeper sense of drama (albeit at the expense of driven resolve) and in doing so elevates them yet further above the realm of standard program music. Yet she even suggests that "it may be a fault that it is too clear-cut, a sharp outline when perhaps a vague impression would have sufficed," which Hutchings attributes to Holst's peculiar psychosis of austerity. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. By bringing together all the movements with this delicately thought-out movement, I feel that it ends in the best way possible wanting to know more. 98 $9.95 $9.45 32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. 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. This movement is also bitonal, and is the only one of the whole suite that is. Even though he composed other pieces such as Sita, an opera, Beni Mora, and Cloud Messenger, nothing elevated him to the level of artistic greatness as The Planets did. Despite their varying tempos that defy the general trend of conductors adopting more autumnal outlooks as they age, Boult's Planets do generally tend to be progressively smoother, and, of course, the recording quality itself becomes more subtly detailed as the technology develops (although even the 1945 BBC rendition already exhibits a fine tonal blend and balance). 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. Imogen recalled: "He found it the most exhausting job he ever had to do, for the large orchestra was crowded into a comparatively small room, the string players were unable to draw their bows to the full length of a crescendo, and the superb horn player broke down 13 times at the beginning of Venus from the sheer discomfort of not having enough air to breathe." The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. - Orrin Howard Colour Coded (Original Mix) | Lars Horton Lyrics, Song Meanings, Videos 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. Gustav Holst - Jupiter, the Bringer of Jollity Lyrics - Genius Salisbury Cathedral pipe organ will breathe new life into Holst's Imogen emphasized that "clarity was his watchword," that "he never could understand slovenly workmanship" and "though his music dwells in mystical regions yet it is never indefinite or shadowy." 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.". Not only does Boult's Mars run about a minute slower than Holst's, but his Jupiter, Saturn and Neptune do as well appreciable differences that raise the intriguing question as to whether interpretations that differ from a composer's own can authentically represent the composer's intentions, as Boult claims his do, and not only with respect to their tempos the very texture of Holst's Mars is aggressive whereas Boult's simply is not. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Holst's students hurriedly copied the parts and only two hours of rehearsal were available. "), 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. Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. Foreman notes that Holst's experience as a trombonist gave him a practical understanding of the orchestra from the inside that came to characterize the flair and brilliance of his instrumentation, of which several critics hail in particular the uncommonly radiant brass writing; Lee notes in particular the novelty of including the unusual timbres of the alto flute, bass oboe and tenor tuba. Download and print in PDF or MIDI free sheet music for Jupiter, The Bringer Of Jollity by Gustav Holst arranged by justice24798 for Euphonium, Clarinet in b-flat, Trumpet in b-flat (Mixed Trio) 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.". Jupiter, the Bringer of Jollity - Wind Repertory Project The third theme is marked pesante which means heavy or peasant like. From the Album Gustav Holst: The Planets . Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 The astrologers say that Jupiter brings power, wealth, high position, fatherhood, ownership everything big. A related facet is the extent to which each movement relates to its titular god. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. So, as the title suggests, I finally decided to take a deep dive into classical music this month. These pieces were each a representation of how each planet's characteristics is depicted. 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. But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). The sixth movement of the suite is dedicated to the planet Uranus The Magician. Jupiter, the Bringer of Jollity 5. The Planets, Op. Simplicity is bliss throughout this movement, with the main melodic cell being intertwined in the horn and oboe rising step movement, which is contradicted by the flutes downward step movement. You can count four, five or six of them, depending on whether you divide the first two into their component parts - they do behave like independent themes. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. Rather, it projects a sense of jagged complication, driven forward by a beat of eighth notes yet stumbled by another beat of triplets, a rhythm that is challenging to follow and that defeats with faltering indecision any notion of regularity or feeling of stability. 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. Holst said this about Venus The whole of this movement is pervaded by the serenity of a wold which nothing seems able to disturb. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. You may be wondering why this movement always feels a little on edge, well it may be due to the time signature that this movement is in. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. (True to form, Stokowski wrote a letter to the producer with detailed suggestions for improving a test pressing, including filtering out highs from "thin and metallic" trumpets and adding echo to Uranus as if it "came from a great cavern, extremely reverberant" so as to differentiate it from the rest, although neither effect is especially evident.) At least to my ears, the result here is more desecration than decoration of Holst's concept. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. The frantic scramble at the end of the movement leads up to the massive stabs at the end, which bring the whole orchestra together to create an exciting and powerful end to this movement. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. Jupiter, Bringer of Jollity" is the central movement of Gustav Holst's Planets Suite and has the most varied melodic structure: with its Stravinsky-like ostinati and syncopation and a central melody as solemn as an anthem, it constitutes the quintessential early-20th-century English composition. Gustav Holst: The Planets Suite - AquarianAge 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. Apparently it was successful, as they returned in August 1923 for Venus, Uranus and Mercury (plus the "Marching Song" from Holst's Songs Without Words as a backing for Mercury, which fit on a single side) and completed the cycle with Mars in October, Neptune in November and Saturn in February 1924. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. Indeed, excerpting the full work became prevalent. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee "We Will Rock You" by Queen is the epiphany of motivational team music. Even so, Henry Balfour Gardiner, a wealthy concert promoter who advocated British works, arranged for a private performance on September 29, 1918 with the Queen's Hall Orchestra to be led by Adrian Boult as a gift prior to Holst's departure for Salonika to arrange musical entertainment for troops. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." I believe the reason it feels more personal is down to the fact that Holst has integrated his first human element to this suite old age. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. Jupiter, the Bringer of Jollity Gustav Holst | Last.fm Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. [O]nce these relations are established in the titles of the movements, it is easy to fall into the mood of the respective tone poems. . This Jupiter has no thunderbolts to hurtle down on us, but only knowing smiles and a wink or two. Macmillan is barely mentioned in the standard reference books and seems to have made very few recordings (and of those most were as an accompanist, including spirited Bach and Beethoven concertos with compatriot Glenn Gould), and so we have little basis to generalize his style. After Holst heard it at a January 1914 London concert (at which it was largely despised by both audience and critics) he bought the score, heavily annotated it, and regarded it as one of his most valued possessions. Holst | Jupiter, the Bringer of Jollity (The Planets) | Wind quintet This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. Holst: The Planets | Young People's Concerts - Leonard Bernstein 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 love of English folk song and dance is readily demonstrated here. Saturn, the Bringer of Old Age 6. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial.
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