This heavier section is like its trying to communicate with everyone possible, not just the top or bottom of social scales, but everybody in-between too. 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 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). The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). Its techniques like these that make this music sound space-age and very modern for its time. Even within each movement, Holst does not organically develop his themes symphonically, but rather uses them to create a structure suited to the psychological character and associations of each planet. Program Notes. 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. March 15, 2011 . $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. 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 . This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. Although it has since become a clich to depict outer space, Holst's inspired final touch is two wordless female choruses, each divided in thirds. 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. 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'. What can we learn from these esteemed messengers? In any event, for a work glorified for its magnificent orchestration it's hard to imagine a more suitable match than the conductor who, more than any other of his generation, reveled in instrumental color and was deeply involved in the recording process and the sheer sound of his records. That said, he and his orchestra produced quite a credible performance. Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". The Planets, Op. Gustav Mahler Symphony No.2: Movement III, Gustav Mahler Symphony No.2: Movement II, Gustav Mahler: Symphony No.2 Genesis & Movement I, Ralph Vaughan Williams English Folk Song Suite: Memorable Melodies, Alexander von Zemlinksy Symphony No. 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. Imogen confirms that Holst followed this directive in his own performances. Each movement was issued singly and then together in a seven-disc album. 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. Yet Foreman notes that Holst's interest in astrology began to fade following The Planets, which perhaps was just as well, as Leo himself was convicted under the British Witchcraft Act shortly before his death in 1917. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. - No. 98 $9.95 $9.45 Sell a . Holst's students hurriedly copied the parts and only two hours of rehearsal were available. Mars is the first movement of the suite, and it is known for its power and strength. The hymn theme (as it shall now be referred to as) is also the basis for the hymn tune I vow to thee my country. "As a rule," he said, "I only study things that suggest music to me. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. Uranus, the Magician Reflecting the astrological realm of eccentricity and the occult, Holst's Uranus has been compared to Dukas's 1897 Sorcerer's Apprentice in terms of their structure, orchestration, rhythm and overall aura of comic bumbling within a serious setting, even though Boult insists that Holst had never heard it. It is a magnificent piece that is sure to bring jollity to your classroom!Your students will:learn about Gustav Holst and his suite.see stunning images of the planets and learn interesting facts abou 2 Products 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." As he entered the final third of his life, Gustav Holst (18741934) appeared mired in mediocrity, if not bound for failure, at least by our usual measures for famous composers. Geoffrey Crankshaw paints Holst as both a visionary and a man of vast culture, such that the unique totality and universality of The Planets reflects all facets of his protean makeup. What about Pluto? Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. This makes the piece incredibly enchanting, enthralling and completely other-worldly. 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. While none attracted much notice or met with any appreciable success, their underlying character would permeate The Planets. 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. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. 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. 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. Perhaps the best example of this is actually at the beginning of the piece, where we hear the repeating ostinato rhythm from the strings which drives and dominates this whole movement. While lacking the patience or interest to attempt to hear them all (for that, please refer to the Peter's Planets site), two struck me of particular promise: Of the rest of the crop of Planets recordings, at least among those I've heard, I've especially enjoyed Steinberg/Boston (DG, 1970), Bernstein/New York (Columbia, 1970), Previn/London (EMI, 1973), Susskind/St. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. While each individual movement has unique and fascinating import, the overall structure is significant as well. The Planets is best known for his orchestral composition. Guardian Headline src url https assets.guim.co.uk static frontend fonts guardian headline noalts not hinted GHGuardianHeadline Light.woff2 http3 true format woff2 url https assets.guim.co.uk static frontend fonts guardian headline latin1 not hinted GHGuardianHeadline Light.woff http3 true format woff. Balances, too, are notable, with the brass in particular striding atop the strings that often dominate early electrical recordings; Imogen notes as cogent details "the bells in Saturn, the xylophone in Uranus and the distant celesta in Neptune" which indeed are audible but not intrusive. The second movement, Venus, provides us with an incredible contrast to the previous movement. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. B Theme. Related Items. 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. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). 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. , , , rapzh.com , , The third theme is marked pesante which means heavy or peasant like. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1917.In the last movement the orchestra is joined by a wordless female chorus. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. - 7/10 2 4 6 8 10 (6) - 5182 View PDF typeset by editors Alaric (2022/1/14) General Information Categories: Recordings Pages with First Editions Scores published by Goodwin & Tabb 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. In every respect its slower pace, lighter instrumentation, supple rhythm, gently oscillating chords, restricted dynamics and soothing harmonic motion Holst's Venus provides a striking contrast to Mars (emulating a comparable shift in the Schoenberg Suite) and serves to reorient us toward a sense of human dignity that subtly evokes the qualities in Leo's attribution. (While identified only as "Symphony Orchestra" on the original labels, the ensemble probably was the London Symphony, with which Coates was closely associated and with whose players he made most of his HMV recordings, even though it was contracted to Columbia.) 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). 2023 Los Angeles Philharmonic Association. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. 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. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. The shortest movement at nearly four minutes, about half the length of the others, and with the fastest tempo (vivace), it flits between distant keys (B-flat and E) and duple and triple meters as its motif (barely a theme Foreman calls it "a fragment from some half-remembered folk tune") careens among various instruments in delightfully transparent scoring. 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). "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. 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. 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. ABRSM Grade 8. Such guidance is especially important, as Holst did not provide metronome markings; rather, he labeled his movements with the traditional vague Italian terms (Allegro for Mars, Adagio for the opening of Venus, etc.). 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." Just the kind of opening a "bringer of jollity" should have. Only then did another appear, and from a rather obscure and unlikely source. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). He drafted it as a two-piano score during weekends in a soundproof room at St. Paul's Girls' School in Hammersmith where he taught and, due to his neuritis, upon whose students he relied to perform his sketches and write out the orchestral score according to his directions. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. Listen Now . Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 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. 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. He was previously married to Isobel Harrison. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. 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. Matthew, Colin: "Holst" article in Stanley Sadie and John Tyrrell, eds., Matthews, Colin: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Mullenger, Len: "HOLST Suite: The Planets" article on the, Reid, James: An Astronomers Guide to Holsts, Sargent, Malcolm: notes to his BBC LP (Capitol SG 7196, 1958), Schoenberg, Arnold [quoted in a Los Angeles Philharmonic, Trippett, David: "A Biography of Gustav Holst, Part 3: 1915-1928" article on the, Tuttle, Raymond: review of Judd/Royal Philharmonic Denon CD in, Ward, Benjamin [? 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." Indeed his daughter Imogen insists upon their "characteristic authority. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. 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. In doing so, he opened an entirely new world for himself." 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." Toronto Symphony Orchestra, Peter Oundjian. Matthews hears a range of aspects of Holst's (and, perhaps more generally, human) personality, from the quicksilver elusiveness of Mercury and extroversion of Jupiter to the relaxed lyricism of Venus and remote mystery of Neptune. 5.0 out of 5 stars 2 ratings. Jupiter - The Bringer of Jollity is introduced by a genial syncopated dance, appropriately so since a happy and festive mood is maintained throughout this movement. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . Imogen recalled that the slow alternating dissonant chords (emulating the third of Schoenberg's Pieces) reflect Holst being enthralled by the solemn tolling before services at Durham Cathedral of bells rung by two very old men in black gowns, thus generating the association with old age. Course Hero uses AI to attempt to automatically extract content from documents to surface to you and others so you can study better, e.g., in search results, to enrich docs, and more. The ladies choir bring a human quality to the movement, again it seems Holst is trying to connect with us with the use of the human voice. 32, in full The Planets: Suite for Large Orchestra, original name Seven Pieces for Large Orchestra, orchestral suite consisting of seven short tone poems by English composer Gustav Holst. In short, this movement reveals Holst as the gutsy risk-taker that he was. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. 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. Jupiter, the Bringer of Jollity 5. 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. 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. Rare enough in Western music, Holst's rhythm is neither the smooth "loping waltz" of the Tchaikovsky "Pathetique Symphony" nor the teasing bounce of Paul Desmond's "Take Five" nor even the urgent thrust of Ginger Baker's "Do What You Like." He has come down from Olympus to flirt with beauties in the mortal . 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. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. This quirky theme is soon left behind as the second theme enters, which is a basic fanfare theme that is varied throughout this shorter section. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. Yet Karajan's approach sets a standard for the continuing modern trend of turning away from the sort of interpretive license that had been expected in the past but which has come to be considered crude by current orchestral (as opposed to solo) performance standards. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. 10pm - 1am, Symphony No.6 in D major (2) Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. 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. 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. Why did Holst launch The Planets with Mars? Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. A related facet is the extent to which each movement relates to its titular god. 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. Saturn is variously described as Holst at his most poignant, unfolding the decay and senility of old age against a constant reminder of unremitting time and awaiting destiny (Sargent), depicting the futility of rebellion against the inexorable onset of age and its varied portents (Freed) and an altogether extraordinary piece of musical realism (James). The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. 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. 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. 3:52 .
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