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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 became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. Bsn. He gave as an example: "Mercury is the symbol of mind." Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. 32. Release [r26171738] Copy Release Code. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. Foreman posits that the progression parallels the ages of man, from youth to old age. rapzh.com 2017 - 2023. Jupiter, the Bringer of Jollity. Sargent considers it a consequence of Holst's characteristic modesty that, after completing The Planets, he made no effort to get it performed, although Imogen felt that her father had no reason to believe that the necessary forces could be assembled in the austerity of wartime. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . Thus the world was hardly prepared for the innovative and eclectic Planets, which seemingly arose from a near-void and, much to the composer's frustration, despite his variegated output came to define him as a "one-hit wonder.". Jupiter (Bringer of Jollity) pour orchestre symphonique. The Planets is best known for his orchestral composition. This movement is incredibly exquisite and it ends the suite so delicately and I, as Im sure you all are, full of questions about why it has ended the way it has. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. 2023 Los Angeles Philharmonic Association. 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. From the Album Gustav Holst: The Planets . Jupiter, the Bringer of Jollity by Patrick Gleeson, Joybringer by Manfred Mann's Earth Band, Call Any Vegetable [Edited- Hybrid Concert] by Frank Zappa & Cruisin' For Burgers [ZINY 40th. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. Matthews agrees that "Holst's ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.". 4 in E minor Op. 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. The strings play col legno which means that the players play with the wood of their bow, not the hair. 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. The Planets: The overview. But is the greater artist the one who briefly astonishes with unlimited resources, or another who extracts amazing things of lasting value from within the limits of the means he has on hand? Indeed his daughter Imogen insists upon their "characteristic authority. At least to my ears, the result here is more desecration than decoration of Holst's concept. Composed By - Gustav Holst; Notes. 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. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. 98 $9.95 $9.45 Sell a . 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. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . 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. 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. "), 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. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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. Imogen confirms that Holst followed this directive in his own performances. Holst's love of English folk song and dance is readily demonstrated here. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. 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. Boult had been a relative novice at conducting when he led the first private performance at the composer's request in 1918, but Holst clearly was pleased, later presenting Boult with the score inscribed: "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst." Holst's love of English folk song and dance is readily demonstrated here. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. Jupiter, in particular, careens amid super-charged tempos that the orchestra delivers with electrifying accuracy (but after all, it was used to Toscanini) and Uranus thrills as instruments jostle for attention. A stronger influence perhaps was that of Stravinsky, whose music had greatly impressed Holst before he took on the universe, the effects of which in The Planets can be seen in the very large Firebird and Petrushka kind of orchestration, in insistent rhythms, and also in striding rhythmic shifts. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. The score is incredibly bare, which makes it sound like a piece of chamber music, which is significant as Holst would have had about 100 musicians to play with. Uranus, the Magician 7. While critics at the time seemed divided along a predictable generational divide, one enthused that: "Holst might have really dug it." Saturn, the Bringer of Old Age 6. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. 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 idea of not using a stable ending to the end of a suite, or any orchestral piece, was a newer technique and was embraced by Twentieth-Century composers for years to come. 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). 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. Smooth Classics with Myleene Klass This Jupiter has no thunderbolts to hurtle down on us, but only knowing smiles and a wink or two. 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. 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. 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. Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. Just the kind of opening a "bringer of jollity" should have. Saying this though he was said to have a soft spot for his favourite movement, Saturn. On a holiday in 1913 Holst became enamored of What Is the Horoscope and How Is It Cast, one of several books in which Alan Leo attempted to popularize, modernize and systematize astrology as a scientific practice concerned with the delineation of character rather than prediction. The Planets Op.32 : VII Neptune, the Mystic. Jupiter, The Bringer of Jollity. CM tonality throughout. 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. In particular, he cautioned with respect to Mars: "I well remember the composer's insistence on the stupidity of war as well as all its other horrors, and I feel that the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal and stupid power." Edit Release New Submission. I have always interpreted this build up section to be like a message between the planets, with the different instruments representing the different characteristics of the planets. 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. A callous texture is imposed by having the strings play the ostinato col legno (using the wooden back of the bow rather than the hair hardly a favorite technique of artists cherishing their precious instruments), with the harps providing a cavernous edge by playing along in their lowest register. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. 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). It has outrun the dimensions of a suite, and become a cycle of tone poems." 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. 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. These pieces were each a representation of how each planet's characteristics is depicted. 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. 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. This makes the piece incredibly enchanting, enthralling and completely other-worldly. 1 in D minor: A Master of Musical Colour. Your Amazon Music account is currently associated with a different marketplace. 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. Concurrent with Boult's first remake, Decca issued a competing LP that, coming at the very end of the mono era, was soon superseded by a stereo version (albeit with a different orchestra), much as Holst's acoustical set had been promptly replaced by its electrical remake. 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 Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 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. By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player None of his further works caught much attention from colleagues or the public; although often austere and still heavily weighted toward vocal pieces, they included operas, fugal and double concertos, a choral symphony, orchestral, chamber and piano works and even a self-descriptive 1932 "Jazz Band Piece.". V Saturn, the Bringer of Old Age. Yet if the cover managed to dupe a few kids into hearing some great music, it seemed at worst a victimless crime and, in the total scheme of things, a forgivable sin against artistic integrity. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. Ce nouvel arrangement passionnant donne vie la partition de Gustav Holst, en conservant tout le caractre et l'excitation de l'uvre originale et dans la cl originale. The Planets32 7 . 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. 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. Heard today both versions startle immediately with their sheer overall speed in comparison to modern recordings which tend to dwell around 50 minutes, the total timing of the first set is 44 and the remake is a mere 42 (largely due to a much more animated Venus). 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. 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. 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 . Indeed, Holst's orchestration is often cited as a prime glory of The Planets. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. 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.". We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). 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. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. Each of the seven movements depicts the astrological qualities of a planet in the solar system. 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. The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. Its small details like the bass flute bringing a darker timbre underneath the concert flutes, and the celeste bringing a beautiful dulcet tone alongside the harp. His Planets belies his reputation for levelheaded performances of precision and polish that is, being more dependable than exhilarating and in the process further dispels notions of Holst's own artistic temperament as methodical and cautious. 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. Halbrick notes that the form moves from tightly structured to more open-ended. 5.0 out of 5 stars 2 ratings. 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). 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. 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. After a brief backward glance and a massive organ pedal point, a few fragments of the spirited theme linger as "faint stars in a silent void to prepare us for the final vision" (Freed). All Rights Reserved. (Please understand: I'm not a musical snob beyond my recordings of serious music, I have (and enjoy!)