Hutchings, Arthur: "Music in Britain, 1918-1960" article in Martin Cooper, ed., James, Burnett: notes to the Boult/Philharmonic Promenade LP (Nixa LP 903, 1954), Kennedy, Michael: notes to the Boult/BBC reissue LP (HMV Treasury ED 39 0725 (1986), Lyons, James: notes to the Steinberg/Boston LP (DG 2530 102, 1971). While each individual movement has unique and fascinating import, the overall structure is significant as well. Holst composed The Planets from 1914-16 after studying astrology. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. When war broke out, as James Lyons put it, he "tried to do his bit" but "no agency had any use for a fortyish musician who could not see six yards ahead of him with his spectacles on." The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. Imogen confirms that Holst followed this directive in his own performances. 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. 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). 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. 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. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. All Rights Reserved. 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. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. The Planets. 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. 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. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. Finally, Neptune brings mystery, the paranormal and the unknown to the final concoction. This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. 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. 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.". 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. 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. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. Yet unlike, say, Mussorgsky's Pictures at an Exhibition or Ravel's Tombeau de Couperin that were conceived for the keyboard and only later adapted for orchestra, Holst wrote the piano version of The Planets largely out of necessity and with the full intention of orchestrating it (and apparently with no thought of public performance, as it was only published posthumously). 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." The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. This particular melody is quick, syncopated, and full of energy. Theme five is an amalgamation of the pesante theme with the fanfare theme, which gradually gets a little faster before we arrive at theme six. 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. Bsn. 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 [? Throughout his career Boult remained a stalwart advocate of the work and set a record of sorts by cutting it five times in the studio (in addition to numerous preserved concerts). 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. 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. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. It is the fifth planet from the sun and is another gas giant. 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. Holst's own imagination had been stimulated by many things, not the least of which was the great literature of English folk songs, introduced to him by his life-long friend, Ralph Vaughan Williams. Free online tab player. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Release date from LSO Discography . That is just about the finest imagery of Jupiter from the ground I have ever seen! ]: biography and "The Planets" information on the. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. By Phil Plait. Neptune is in the far reaches of the solar system and the end of this movement is a gradual fade out, with the last thing the audience should hear is the very far away ladies choir (who have started to walk away to create the fade out effect). As several commentators have pointed out, while some of the mythological references seem appropriate (Mars, Holst's "Bringer of War," indeed was the Roman god of war), others seem obscure (Neptune, Holst's "Mystic," was merely the sea god). Foreman notes that Holst's experience as a trombonist gave him a practical understanding of the orchestra from the inside that came to characterize the flair and brilliance of his instrumentation, of which several critics hail in particular the uncommonly radiant brass writing; Lee notes in particular the novelty of including the unusual timbres of the alto flute, bass oboe and tenor tuba. Sell a . 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. 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. Equally anomalous, in lieu of the general tempo slowdown common with conductors over the course of long careers, Boult's five studio Planets follow no pattern; thus, for example, his Saturn swings from 8:15 in 1945, to 8:53 in 1954, to 8:24 in 1960, to 9:09 in 1967, to 8:23 in 1978. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. at jwpepper.com. That is, in fact, the way to describe this work. Look at the detail: the Great Red Spot . 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. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. Each movement was issued singly and then together in a seven-disc album. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. 5. 2023 Los Angeles Philharmonic Association. 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." 10pm - 1am, Symphony No.6 in D major (2) Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). 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.". - 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 There are points where the time signature is less obvious and that is part of the whole excitement of the movement! The music creates a sound world that is mystical and very well-balanced in terms of orchestration. 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.). Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. I truly doubt that! On the 18th I had one of the worst emotional meltdowns of my entire life. 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. Jupiter adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. Billed annually at $39.99 View Official Scores licensed from Release [r26171738] Copy Release Code. In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. 5.0 out of 5 stars 2 ratings. 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. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. Despite their simultaneous appearance at the dawn of the era of electrical recording (which would seem to suggest a hearty public appetite for more), the Holst and Coates sets appear to have sufficed to sate demand for 16 years. 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. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. 1 in D minor: A Master of Musical Colour. 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. Video unavailable 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. 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. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". 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. 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. Not only does Boult's Mars run about a minute slower than Holst's, but his Jupiter, Saturn and Neptune do as well appreciable differences that raise the intriguing question as to whether interpretations that differ from a composer's own can authentically represent the composer's intentions, as Boult claims his do, and not only with respect to their tempos the very texture of Holst's Mars is aggressive whereas Boult's simply is not. The Planets, Op. He . Ob. Indeed, Holst's working title for The Planets on its first publication (along with his name as "von Holst," soon to be changed in deference to anti-German sentiment) was Seven Pieces for Large Orchestra. 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.". Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. Start the wiki Featured On Saturn, the Bringer of Old Age 6. Jupiter, the Bringer of Jollity As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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. Jupiter, The Bringer of Jollity Instrumentation The instruments used in this piece is: four flutes three oboes one English horn three clarinets one bass clarinet three bassoons one contrabassoon six horns four trumpets two trombones one bass trombone one tenor tuba one bass tuba 98 $9.95 $9.45 Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. Instruments : Fl. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. The opening bars of Saturn are often referred to as a ticking clock. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. 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. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." ", Finally, moving from the sublime to the ridiculous, In the thrall of the social transformations ushered in by Hair and the Age of Aquarius, in 1970 James Lyons foresaw the extra-musical connotations of The Planets as "ramifications for our future that are variously fascinating and frightening." Edit Release New Submission. 3:52 . $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. 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. 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. B Theme. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in a broad sense." Not only one of the very first compositions to renounce tonal anchors and modulation in favor of extensive dissonance (but prior to tone rows), it used a huge orchestra, yet deployed with discretion to create a kaleidoscope of unusual textures within a highly expressionistic set of moods. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. This site uses cookies to offer you the best possible experience. 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. Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Foreman continues: as quiet descends, "the distant vocalizing choir floats into our hearing again, as if it has been there throughout, and Matthews is back with Holst confronting the infinite." 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.
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