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. 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. The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 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'. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. I generally disparage those who routinely dismiss acoustical recordings as primitive and unworthy of attention (and thus ignore a crucial slice of our cultural heritage), but in this instance the electrical remake, coming soon after and fundamentally similar in approach, strikes me as superior, not only in terms of sonic fidelity and overcoming most of the compromises required by the tyranny of the earlier mechanism but in the quality of the execution and Holst's more assured leadership (even though, while lacking the skills and experience of a trained conductor, by 1922 he had led The Planets in public many times). Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. Thus Greene contends that the slow tempo reflects the pace of the aged, the oscillating chords hold tonal progression in abeyance as a symbol of timelessness, the gradual accumulation of tonality suggests steady progress, and the final tune sounds cold and arid, to which might be added that the constant syncopation tempers inevitability with unease. Every artist ought to pray that he may not be 'a success.'" 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). (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.) This particular melody is quick, syncopated, and full of energy. 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. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. 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. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. The sixth movement of the suite is dedicated to the planet Uranus The Magician. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. 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. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. Depending upon one's vantage, Karajan's objective precision either lets the music speak for itself with intrinsic integrity or heartlessly drains it of human communication. 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. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. Add to Collection Add to Wantlist. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. 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. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. 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. 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. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. This theme stems into theme four also, with variants being played. 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. Foreman posits that the progression parallels the ages of man, from youth to old age. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. 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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. Its first public performance took place in 1920, and it was an instant success. Freed similarly credits Holst with innovation beyond the scoring of his predecessors: "His vast forces are deployed with the utmost imaginative flair to achieve the most delicate and subtle effects and always with the feeling of great wells of strength in reserve." Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. Visita nuestra pgina web en espaol. Each movement was issued singly and then together in a seven-disc album. As Foreman notes, the resulting torso left an impression of undue heaviness. 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." He has come down from Olympus to flirt with beauties in the mortal . 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). What the title doesn't suggest, though, is that I was [i]not[/i] doing okay this month. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 32 between 1914-1916. 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. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! Uranus expresses magical forces, animation and playfulness to the mix. 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. Ob. 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. : Westminster Abbey I Vow to Thee My Country +2 - They played it during Princess Diana's funeral (it's her favorite hymn) and the camera zoom out from . He Isao Tomita was a Japanese pioneer who sought to move electronic music beyond imitations of conventional instruments by applying a full range of sound that he envisioned as comparable to a painter's palette. Flaws aside, Holst is an enormously persuasive advocate for his Planets and either set affords the incomparable thrill of eavesdropping on a composer supplementing the cold written score to infuse his creation with the essence of his personal creative spirit. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano) Sheet music for Piano (Solo) | Musescore.com Winter Sale: 65% OFF 04d: 09h: 05m: 39s View offer 00:00 / 06:41 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. Just the kind of opening a "bringer of jollity" should have. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. Marketplace. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". 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. The first half is soft and rather bitter, strewn with a few reminiscences of Holst's movements, and is described by Foreman as "a pianissimo world, a mercurial scurrying of chromatic runs and scales" in which "long-held very soft pedal points, evocative orchestral color, and the shining effect of harp and celesta all add to the almost tangible pictorial effect." 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. at jwpepper.com. 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. But perhaps one of the earliest foretastes of that bond came with the 1970 reissue of the 1960 Boult/Vienna State Opera Orchestra Planets on Westminster Gold, a label known for metaphoric and often witty (if occasionally tasteless) covers that presumably strove to lure unwitting pop fans to the classics. 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. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. What about Pluto? To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. 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." This stunning movement, similarly to Mars, uses 5/4 time signature, although the groupings are different from that in Mars, with this movement being grouped 3-2 as opposed to either 2-3 or 5. Holst composed The Planets from 1914-16 after studying astrology. Jupiter is named after the Roman king of the gods. 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). 7 images Reviews. March 15, 2011 . Imogen reports that Holst hated incomplete performances (even though at first he had led several himself) and the result here gives a rather warped impression of Holst's concept; moreover, if the Coates set is played in the prescribed order, it closes with the end of Uranus that functions to set the mood for the true conclusion of Neptune and sounds tentative in isolation (although since the movements were on separate records their order could be rearranged, perhaps to end with the triumphant finale of Jupiter.). But then a sudden explosion ushers in intense activity that, according to Matthew, uses solar winds as a starting point. Gustav Holst - Jupiter the Bringer of Jollity Tab. 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. Toronto Symphony Orchestra, Peter Oundjian. 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. Whether you need to focus, get pumped up, or wind down, the right playlist at the right time has the ability to transform your day from dull to dope. Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . The Planets, Op. - 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 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. Release date from LSO Discography . He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. The Planets Op.32 : VII Neptune, the Mystic. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. 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. For details on how we use cookies, see our. 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. 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. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. Comparing Holst's two recordings, the second obviously has richer sound. Musically though the piece is in strange time signatures such as 6/4 and 9/4. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. He was previously married to Isobel Harrison. 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. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). 1 in D minor: A Master of Musical Colour. 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. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. Program Notes. Greene adds that Holst regarded planetary influence as a metaphor for various aspects of human personality and through each movement of The Planets sought to portray psychological drama within aspects of human character. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. With deep roots, both parental and musical, in England and Russia, Coates absorbed the unabashed subjective outlook of his mentor Arthur Nikisch, who reportedly told him to trade his conductor's baton for a whip. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. A6. 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. 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. Orchestra Sheet Music. Sargent sees it as confounding logic, working miracles divorced from reality. 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. 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. 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). 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. His career as a pianist had crashed at college when he developed neuritis so severe that he reportedly could write music only by tying a pen nib to his forefinger. Recurring 3-note ostinato. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). This is the only movement of the whole suite not to use themes or any real melody, only fragments of musical cells that you can loosely call melodies. That was pretty fun. Holst's love of English folk song and dance is readily demonstrated here. John Marsh 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). At least to my ears, the result here is more desecration than decoration of Holst's concept. 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. jupiter, the bringer of jollity analysis. Any meaningful consideration of Planets recordings begins here. Add Review. The strings play col legno which means that the players play with the wood of their bow, not the hair. 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. For the final movement Holst returns to the 5/4 time signature (which he specifies as 3 beats followed by 2, the same way the Mars rhythm is felt) that launched his Planets, but now, having probed the nobler aspects of the human condition, the militant hammering of Mars has fully ceded to a silken rustle. 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. 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. Instruments : Fl. 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 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'. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. Release [r26171738] Copy Release Code. Otherwise, Boult's first outing has few unusual features. Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. This makes the piece incredibly enchanting, enthralling and completely other-worldly. The full orchestra winds up "in a bubbling cauldron of sound" (Crankshaw) only to vanish with a massive pained tutti chord as "a sudden deflated collapse into a dismal heap of nothingness" (James). 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. 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. Sargent salutes the essential clarity of Holst's scoring (derived in part from his admiration for Ravel), and notes that after a score had been written Holst routinely would go through it with an eraser to expunge inessential notes and even entire instrumental lines. 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. The Planets, Op. The Planets, Op. Jupiter, The Bringer of Jollity. (in Bb) Hn. 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) Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. Holst is very economic in the way he uses instruments within this movement, and by not utilising all the players he had at his disposal creates an incredibly delicate sound. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. , , , rapzh.com , , 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. 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. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement.
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