Cl. 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.". , , , rapzh.com , , In the interim, Holst himself conducted just Venus, Mercury and Jupiter in April 1919 at Queen's Hall and Henry Wood led the same movements that December, setting a precedent that would be followed for several years until the full orchestral score was published in late 1921. Uranus expresses magical forces, animation and playfulness to the mix. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. Silencing the organ, percussion, trumpets, trombones and tuba, Holst 's texture "concentrates on delicate and lucid tone colors" of woodwinds, harps, celesta and solo violin (Halbreich), creating "an essay in benignity" in which "our feet have been placed in some posture of security" (Crankshaw), "bringing to the suffering world a vision of heavenly peace" as Venus "sails softly across the evening sky, bringing with her a still, starlit repose" (James) and "the skies are soothed by a gentle benediction" (Freed). 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." 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. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. Holst's work comprises seven movements, each devoted to a particular planet in our solar system (excluding the earth, the focus of the other planets' influences), beginning with the inner three but in reverse order from their distance from the sun, and then proceeding outwards through the rest. Composed By - Gustav Holst; Notes. This makes the piece incredibly enchanting, enthralling and completely other-worldly. jupiter, the bringer of jollity analysis. Saturn is variously described as Holst at his most poignant, unfolding the decay and senility of old age against a constant reminder of unremitting time and awaiting destiny (Sargent), depicting the futility of rebellion against the inexorable onset of age and its varied portents (Freed) and an altogether extraordinary piece of musical realism (James). 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. 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 Planets Op.32 : VI Uranus, the Magician. Each movement was issued singly and then together in a seven-disc album. $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. 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). Buy song $0.99. 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. While Tomita's structure seems mostly random and the nexus between the original and his contributions is often obscure, he does produce an impressive amount and array of fresh sound, and his abundant technical facility, sense of rhythm, feeling for spatial display and overall flair for invention are fully apparent. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Release date from LSO Discography . The concept of the work is based not on the Roman deities that they may relate to, but the influence of the planets on the psyche, which consequently makes this work astrological, not astronomical (hence why Earth is not included). 5. The Planets is best known for his orchestral composition. - 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 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. He gave as an example: "Mercury is the symbol of mind." Jupiter, the Bringer of Jollity 5. Visita nuestra pgina web en espaol. 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. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 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. Each of the seven movements depicts the astrological qualities of a planet in the solar system. "Jupiter, the Bringer of Jollity," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. In his preface to The Planets, Holst advised that there is no program in the pieces and that the subtitles should be sufficient to guide the imagination of the listener. $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. Rhythm to Holst was the most important thing in life, and in this recording he never for one moment allows the rhythm to sag, with the result that Mars sounds even more relentless than usual." 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." March 15, 2011 . Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. 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. Otherwise, Boult's first outing has few unusual features. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. 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. Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. rapzh.com 2017 - 2023. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. With Mars bringing masculinity and forcefulness to the forefront, Holst was able to paint a really vivid picture of war and the consequences of war. [O]nce these relations are established in the titles of the movements, it is easy to fall into the mood of the respective tone poems. Imogen emphasized that "clarity was his watchword," that "he never could understand slovenly workmanship" and "though his music dwells in mystical regions yet it is never indefinite or shadowy." 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. 6. Recurring 3-note ostinato. 5.0 out of 5 stars 2 ratings. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. Holst's love of English folk song and dance is readily demonstrated here. 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. 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. Apparently it was successful, as they returned in August 1923 for Venus, Uranus and Mercury (plus the "Marching Song" from Holst's Songs Without Words as a backing for Mercury, which fit on a single side) and completed the cycle with Mars in October, Neptune in November and Saturn in February 1924. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Its techniques like these that make this music sound space-age and very modern for its time. It has outrun the dimensions of a suite, and become a cycle of tone poems." Rapidly ascending scalar motion. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Jupiter (Bringer of Jollity) pour orchestre symphonique. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 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. 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. 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 reason is unclear upon reflection did Holst feel a need to correct the original pacings, or perhaps were his own views capricious (and thus should not be taken by others as definitive)? Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. Boult also led the first public performance on February 27, 1919, while Holst still was away, but omitted the final two serene movements (perhaps in part to save the cost of the wordless female chorus that makes its only appearance at the end of Neptune). That is just about the finest imagery of Jupiter from the ground I have ever seen! 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. While the piano score is useful for study purposes, despite the technical excellence of several recordings the keyboard version unavoidably purges The Planets of all its color and texture. Elegance is how the passage is composed of such a limited set of materials. 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. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". Billed annually at $39.99 View Official Scores licensed from Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. Before considering orchestral recordings of The Planets, we should briefly note the original two-piano version. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). The work sounds just as it did when Holst used to conduct it before a Queen's Hall audience," even though she allows that by having to record each side straight through "there may be details which Holst would have liked to improve, but the performance as a whole is a magnificent achievement.". 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. I do believe that this movement provides a representation for the prime of life, making it at the centre of musical expression and impressive melodies which create a feel-good wave of sound for the listener. This theme stems into theme four also, with variants being played. He was previously married to Isobel Harrison. James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. No items for sale for this Release. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . But perhaps the most remarkable movement is Venus, in which Sargent adds another full minute to others' already sprawling pace to craft a feeling beyond mere wistful dreams to a lush romanticism that one would not have suspected to find within the composer's emotional arsenal. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. 32. The first full public performance had to await October 10, 1920. 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. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. A6. Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. The opening bars of Saturn are often referred to as a ticking clock. (in Bb) Hn. 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. Look at the detail: the Great Red Spot . Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. Sargent was especially famed for his choral work from religious oratorios to Gilbert and Sullivan and, like Boult, was a lifelong advocate of British music. "And then," he concluded, "recently the character of each planet suggested lots to me.". Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 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. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. at jwpepper.com. 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. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. 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.). 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. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. As Foreman notes, the resulting torso left an impression of undue heaviness. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. 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. 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. 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. Thus his Mars exudes a snarling menace and gallops ahead as though chased by fear, his Mercury sweeps aside any sense of polished grace as it boils over with irrepressible energy, the instruments in Jupiter fairly explode in joy as they jostle for attention, and Uranus becomes a heart-pounding march that heightens the repose of its final minute.

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