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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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. This makes the score interesting to read as some instruments will be scored in flats, others in sharps, and others with no key at all. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. 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). 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. 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 Tab by Gustav Holst. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. 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 Holst's love of English folk song and dance is readily demonstrated here. I truly doubt that! This Jupiter has no thunderbolts to hurtle down on us, but only knowing smiles and a wink or two. 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. Start the wiki Featured On 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'. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. 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 . 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. 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. Boult's endings of the slow movements sound abruptly perfunctory, lending greater feeling to the extremely gradual fadeout of his Neptune. In the interim between Pluto's ascent and demise it must have seemed tempting to complete the task that Holst, by necessity, had left unfinished, while dissuaded from the heresy of tampering with the magical ending of Neptune. 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. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. The Planets is best known for his orchestral composition. So after. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. 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. This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. The album of four 78s was issued in automatic sequence (with a 1937 Boult/BBC Symphony Elgar "Imperial March" as the eighth side following the second half of Jupiter, rather than backing Mercury) and thus, unlike with the individual discs of the Holst and Coates sets, effectively prescribed that the movements were to be heard in order, wrapping up with the triumphant conclusion of Jupiter, even though Imogen reports that Holst particularly disliked such a false "happy ending.". With these new lines of interest, Holst started to learn how each planet bears a different characteristic in terms of astrology, and what this means within the bigger picture. Jupiter, the Bringer of Jollity Play track Love this track More actions Listeners 47.3K Scrobbles 152.1K Join others and track this song Scrobble, find and rediscover music with a Last.fm account Sign Up to Last.fm Length 9:22 Lyrics Add lyrics on Musixmatch Do you know any background info about this track? Holst considered Saturn his favorite movement, perhaps in reaction to its negative press reviews or because, as Greene observes, his personality led him to identify with its traits of plodding perseverance, diffidence, apathy and endurance, all of which are reflected in the musical grammar. VIDEO COMMENT Holst's "Jupiter" +9 - As long as it's played well it sounds amazing on anything: : Gustav Holst - A Fugal Overture (1922) +3 - Holst didn't write a movement for Earth, but the Fugal Overture would be an interesting insertion . The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. 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. Add to Collection Add to Wantlist. 4. I'm sure there are other good ones, but (unless you're a total hi-fi freak) do bear in mind Raymond Tuttle's admonition: "One senses that record companies are moved to record it again and again not because they feel that their artists have anything important to say about it, but because they want to show off the very latest development in recording technology. 32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. 1 in D minor: A Master of Musical Colour. Video unavailable The third theme is marked pesante which means heavy or peasant like. The colouring of sounds seems to be right at the heart of Holsts orchestration as he has the horns and flutes colour the harp chords at points, and the solo violin is coloured and blended with the lower strings to create a rich sound. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. What about Pluto? A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Vernon Leidig 2nd B-flat Trumpet Part Grade: 3 Item: 00-PC-0000054_T2. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. In doing so, he opened an entirely new world for himself." Jupiter is named after the Roman king of the gods. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. If nobody likes your work, you have to go on just for the sake of the work. He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). To contrast the previous, quite solemn feel to the movement, there is an outburst within the orchestra, which could mean a plethora of different things. Karajan's was the only other Planets (aside from Boult and Sargent remakes) to emerge during the entire decade of the 'sixties. To add to this, the whole movement is ambiguous in terms of tonality, with a lot of it being modal as there seems to be a void where typical harmonic progressions would be found; this includes parts of this hymn theme section. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. 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). Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. 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. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. Your Amazon Music account is currently associated with a different marketplace. rapzh.com 2017 - 2023. A far more inclusive, if highly opinionated, list is on the Peter's Planets website (no relation). He was previously married to Isobel Harrison. Jupiter, The Bringer of Jolity from The Planets Gustav Holst Arranged by Sandra Dackow Grade: 4 This full-length arrangement of Jupiter is also on a massive scale, uncut and making every attempt to include all of the elements, if not instrumental colors, of the original. Why did Holst launch The Planets with Mars? That said, the first version has its merits, mainly in greater visceral excitement from its scrappier and more incisive playing, a more intimate sense of communication arising from its reduced forces, and even some striking details, beginning at the very outset as the col legno strings open Mars with rasping ferocity. Your email address will not be published. The mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. at jwpepper.com. 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. 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. Lyrics, Song Meanings, Videos, Full Albums & Bios: Space Age, London Underground, Yes, I Did It (Christian Hornbostel Remix), Redox, Resonatory Aspects, Straight - Phonista Remix, Metaphysic, Yes I Did It (Christian Hornbostel Remix), Velocity (Dan Rubell Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. 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. It could perhaps represent church bells at a funeral (as tubular bells are used extensively here), or perhaps its alarm bells that death is approaching. 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." Jupiter - The Bringer of Jollity The fourth movement of the suite, Jupiter is perhaps the most famous of them all, especially the main theme that is heard in the middle of the movement. Holst's musico-spatial explorations may not be cosmic, but they are brilliant, dramatic, and picturesque enough to fit into almost anyone's concert hall horoscope. Toronto Symphony Orchestra, Peter Oundjian. 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. 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. And let me also say that, out of an abundance of fairness and as a service to my dear readers, I did try to emulate its presumed target audience by listening again to the Tomita Planets while stoned but the effect seemed just as meaningless and pretentious and way too long.). Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. Louis LP (Turnabout QTV-S 34598, 1974), Holbreich, Harry: notes to the Herrmann/London Philharmonic LP (Decca Phase 4 Stereo PFS 4184, 1970), Holst, Imogen: notes to the Holst/London Symphony reissue LP (HMV Treasury HLM 7014, 1972). Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. 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.). This movement in general is quite unconventional, which has been said to represent the idea that Uranus as a planet moves on its own side axis, which in itself is different. They play a fifth interval, then drop a semitone, which is repeated throughout this section. But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. 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. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. Even so, purists will quail at Stokowski's tampering with the score he adds a mammoth gong to underline the final Mars chord (and a softer one during the Neptune female chorus), and concludes Neptune with a full, if quiet, cadence rather than trailing off into the infinite. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. "And then," he concluded, "recently the character of each planet suggested lots to me.". 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. 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. 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. Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. 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. "As a rule," he said, "I only study things that suggest music to me. 98 $9.95 $9.45 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. 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. 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). Jupiter adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. John Marsh 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. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. 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. Each movement was issued singly and then together in a seven-disc album. In retrospect that's just as well in 2006, along with over 100 other celestial objects in the same region (the Kuiper Belt), Pluto was reclassified as a mere dwarf planet (for failure to meet a criterion of the definition of a planet that its gravity dominates its neighborhood to capture as moons or clear away all other nearby objects). 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 theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. 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. 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. The Planets32 7 . The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. 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. He didnt submit to the conventional rousing finale (he used Mars at the beginning and Jupiter in the middle) but instead, he used the exact opposite. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . : 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 . (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. 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. 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. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. 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." To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. 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).