The theme itself lingers in bitterness, its constant leaps creeping downward in minor seconds to form tritones, and its rhythm nervous, sounding as though it should fit into 6/4 time but with the fourth beat forcibly extracted. 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). 32, was written between 1914 and 1916. But then a sudden explosion ushers in intense activity that, according to Matthew, uses solar winds as a starting point. This reception is rather interesting as Holst himself never deemed the work to hold much worth, nor did he think its popularity was quite justified. Jupiter, the Bringer of Jollity - By far the most accessible of the movements, Jupiter is an unabashed celebration of life, fortune and hope in a multitude of forms. Holst's love of English folk song and dance is readily demonstrated here. 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. By Phil Plait. Unfortunately, only Mars, Mercury, Jupiter and Uranus were recorded, perhaps to focus on the faster movements that were easiest to capture, would have the most popular appeal, would provide a marketing advantage by fitting onto four rather than seven discs, and seemed best matched to Coates's spontaneous musical temperament. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. The Planets is best known for his orchestral composition. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. While each individual movement has unique and fascinating import, the overall structure is significant as well. In a somewhat related development of pop culture, not only Williams's Star Wars but countless other sci-fi outer-space movie soundtracks have been (and still are being) derived from The Planets. Holst composed The Planets from 1914-16 after studying astrology. Sell a . This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. 5.0 out of 5 stars 2 ratings. 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). Smooth Classics with Myleene Klass The mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. Each of the seven movements depicts the astrological qualities of a planet in the solar system. It seems the inspiration for this movement is taken from Roman mythology, with the Roman God, Mercury wearing wings on his shoes so he can move around quickly and get messages to people in good time. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. 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. Orchestra Sheet Music. From the Album Gustav Holst: The Planets . 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. Each movement was issued singly and then together in a seven-disc album. ]: biography and "The Planets" information on the. It is the fifth planet from the sun and is another gas giant. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. It begins with a portentious brass fanfare that quickly evolves into a jaunty but somewhat erratic pair of tunes that careen through the orchestra in constantly-changing patterns of sound that seem to involve every instrument from tympani to piccolo in wildly inventive combinations, as though conjured by a shambling yet potent sorcerer, as if to suggest that, once untethered from reality, all becomes possible. While such a resource was not entirely novel (Debussy had already used wordless sopranos and altos to conclude his 1901 Sirnes), Holst's haunting indefinite ending was quite innovative. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. Uranus expresses magical forces, animation and playfulness to the mix. "Jupiter, the Bringer of Jollity," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. He gave as an example: "Mercury is the symbol of mind." Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. 1 in D minor: A Master of Musical Colour. 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. 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. With Mars bringing masculinity and forcefulness to the forefront, Holst was able to paint a really vivid picture of war and the consequences of war. Jupiter, the Bringer of Jollity. 4 in E minor Op. The Planets32 7 . As Foreman notes, the resulting torso left an impression of undue heaviness. Recurring 3-note ostinato. 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. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). Here, while Tomita's Venus and Mars and the end of his Neptune are fairly tasteful if gimmicky adaptations, much of the rest at best is barely inspired by Holst, smothered under a din of rocket blasts, air-to-ground chatter, densely-packed crescendos and the like musical mainly in the broad Cagian sense of expanding our traditional notions to include noise and natural sound. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. Throughout his career Boult remained a stalwart advocate of the work and set a record of sorts by cutting it five times in the studio (in addition to numerous preserved concerts). Soon to enter are the horns, lower strings and both sets of timpani with a syncopated theme which builds into the fabric of this first theme (of a mighty six for this movement!). Holst composed The Planets over a course of two years, beginning in the summer of 1914 with Mars and continuing through the other movements in order, except for Mercury which he wrote last. This particular melody is quick, syncopated, and full of energy. 03 Mar 2023 23:14:51 Beyond the resemblance of Mars to the first movement of Schoenberg's Suite, Mullenger asserts the influence of Stravinsky's Rite of Spring (although the savage climax of that work thrives on thoroughly erratic downbeats rather than the rigid, relentless rhythm here). 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. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. 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. Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet Sheet music for Clarinet other (Woodwind Quartet) | Musescore.com Winter Sale: 65% OFF 03d: 21h: 14m: 39s View offer 00:00 / 01:24 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. 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. 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." 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. While critics at the time seemed divided along a predictable generational divide, one enthused that: "Holst might have really dug it." (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. 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. Add Review. 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'. 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. 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." Ob. Saying this though he was said to have a soft spot for his favourite movement, Saturn. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. (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.) Indeed his daughter Imogen insists upon their "characteristic authority. For me, and for others it seems, this gradual build up paints a picture of time passing by, which directly relates to the characteristic of the planet The Bringer of Old Age. 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). Rather surprisingly, while Saturn is engagingly atmospheric, much of the result turns out to be mellow and tasteful, with some disengaged playing and far less garish spotlighting of instrumental lines than we might expect. . 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. Even so, she did express two reservations: that the end of Neptune is too abrupt (with only a single repetition of the closing bar) and that the final staccato chord in Mercury is much too loud, which she attributed to using too large a gesture in order to avoid a ragged attack, which would have required scrapping the whole side. Indeed, Holst instructs: "The orchestra is to play sempre pp throughout" [somewhat redundantly sempre means "throughout"] and added "dead tone" to his personal score; as a result "it never rises above a whisper to transport us to the quiet ecstasy of the Contemplative" (Sargent). Jupiter--Bringer Of Jollity By Gustav Holst (1874-1934) - Score and Part(s) Sheet Music for Orchestra - Buy print music AP.12202 | Sheet Music Plus. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. In his preface to The Planets, Holst advised that there is no program in the pieces and that the subtitles should be sufficient to guide the imagination of the listener. Sure enough, six years later The Tomita Planets (RCA LP) became a pop culture phenomenon, albeit a short-lived one, as Imogen Holst charged that it mutilated the copyrighted original and successfully sued to enjoin further sales. Moving beyond philosophical and astrological implications, Richard Freed concludes that The Planets is just as much about the character of the modern orchestra itself than having any extrinsic meaning. The Planets, Op. "Jupiter, the Bringer of Jollity," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. 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. "), 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. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 Uranus is perhaps my least favourite, but all the same its still a great piece of music and I feel like it does fit well into the mixture of movement Holst has written. The melody slows down for just a second at 0:54, and then suddenly at 0:57, we're thrust into the second theme of the piece (Holst likes to keep us on our toes). "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. V Saturn, the Bringer of Old Age. Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. 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). This Jupiter has no thunderbolts to hurtle down on us, but only knowing smiles and a wink or two. Saturn, the Bringer of Old Age Sargent's reading is remarkably potent, from a downright spooky opening as Mars seethes toward a giant climax, to alarmingly loud bells that shake off any sense of torpor in Saturn, and earth-shaking organ pedal points and huge tympani that magnify the drama of Uranus. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. Holst's musico-spatial explorations may not be cosmic, but they are brilliant, dramatic, and picturesque enough to fit into almost anyone's concert hall horoscope. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. Three months earlier Edwin Evans had expanded on this outlook in a Musical Times article, presumably with the composer's authority: "The generally accepted astrological associations of the various planets are a sufficient clue in themselves to the imagination. Perhaps Holst, who was devoted to searching for novel qualities among familiar instruments, would have been enthralled to hear textures beyond the reach of even his fertile imagination, limited as it was by the analog resources of his time. $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. The third theme is marked pesante which means heavy or peasant like. Even as enhanced to bring out detail for its digital transfer, the recording is a bit crude and dynamic compression raises the noise floor to cloak the fragile interplay of harps and celesta in Neptune, a sorely missed effect, as Stokowski bloats the final movement to nearly ten minutes (compared to a "normal" seven or so) and thus trades its inherent gentle momentum for a far different but equally apt sense of timeless suspension. But perhaps the most remarkable movement is Venus, in which Sargent adds another full minute to others' already sprawling pace to craft a feeling beyond mere wistful dreams to a lush romanticism that one would not have suspected to find within the composer's emotional arsenal. March 15, 2011 . Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. 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). That, in turn, suggests that the very notion of authenticity cannot be reduced to a single set of parameters and that great music can only be enriched by a range of personal interpretation. 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. Soon heard is a very interesting dotted-rhythm motif from the whole bassoon section, with the contrabassoon being at the forefront. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . John Marsh Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. 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. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. The Planets Op.32 : VII Neptune, the Mystic. 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." If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in a broad sense." In 1944, drawing players from the Los Angeles Philharmonic, he had created an orchestra for the Hollywood Bowl and recorded a few short pieces with them at the time, but after that he returned only once to conclude their 1955 season. Jupiter, The Bringer of Jollity. Perhaps as a tentative test of its market appeal, Jupiter was cut on September 15, 1922 but not issued (as a two-sided 78) until March 1923.

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