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. 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. 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." Simplicity is bliss throughout this movement, with the main melodic cell being intertwined in the horn and oboe rising step movement, which is contradicted by the flutes downward step movement. Otherwise, Boult's first outing has few unusual features. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . The melody slows down for just a second at 0:54, and then suddenly at 0:57, we're thrust into the second theme of the piece (Holst likes to keep us on our toes). He Macmillan is barely mentioned in the standard reference books and seems to have made very few recordings (and of those most were as an accompanist, including spirited Bach and Beethoven concertos with compatriot Glenn Gould), and so we have little basis to generalize his style. The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. 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.". Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. He has come down from Olympus to flirt with beauties in the mortal . 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. 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. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. Brass Monkey - Beastie Boys. Jupiter, the Bringer of Jollity 5. V Saturn, the Bringer of Old Age. 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). You might also enjoyEdvard Grieg:Peer Gynt Suite, Your email address will not be published. These pieces were each a representation of how each planet's characteristics is depicted. The astrologers say that Jupiter brings power, wealth, high position, fatherhood, ownership everything big. The ladies choir bring a human quality to the movement, again it seems Holst is trying to connect with us with the use of the human voice. The Planets Op.32 : VI Uranus, the Magician. 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." That was pretty fun. Imogen recalled: "He found it the most exhausting job he ever had to do, for the large orchestra was crowded into a comparatively small room, the string players were unable to draw their bows to the full length of a crescendo, and the superb horn player broke down 13 times at the beginning of Venus from the sheer discomfort of not having enough air to breathe." Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. 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. 5. This particular melody is quick, syncopated, and full of energy. Holst's love of English folk song and dance is readily demonstrated here. 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. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. As Foreman notes, the resulting torso left an impression of undue heaviness. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. 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. 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. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 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. 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 the fastest rotation of all the planets). Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Within the basic tempos Imogen calls his beat "clear and unfussy. 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'. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). Holst began composing the work in 1914, yet, in spite of the first section's title, "Mars, the Bringer of War," it is not a war piece, for Holst was into it before the holocaust started. If so, then the rest of The Planets, both psychologically and musically, can be heard as proposing various paths to redemption or, perhaps collectively, a fervent prayer that mankind would find some way to carry on by embracing our better sides. 7 images So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. 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. Hablas espaol? 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). Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. 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. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. That is just about the finest imagery of Jupiter from the ground I have ever seen! He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. 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). By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player 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. 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). Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. Holst's love of English folk song and dance is readily demonstrated here. While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. 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. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. 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. (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. Add to Cart Add to List. 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. Musically though the piece is in strange time signatures such as 6/4 and 9/4. The Planets is best known for his orchestral composition. The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. The Planets32 7 . Any meaningful consideration of Planets recordings begins here. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. 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. Comparing Holst's two recordings, the second obviously has richer sound. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. 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). 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. 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. 8. 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. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. 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. 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. It is the fifth planet from the sun and is another gas giant. After the calmness of Venus, we bounce straight into the third movement, Mercury The Winged Messenger, which takes us on an exciting journey, though it is only brief, with this movement being the shortest of the seven. (While identified only as "Symphony Orchestra" on the original labels, the ensemble probably was the London Symphony, with which Coates was closely associated and with whose players he made most of his HMV recordings, even though it was contracted to Columbia.) The Planets is an absolutely remarkable suite of orchestral music. The third theme is marked pesante which means heavy or peasant like. 5.0 out of 5 stars 2 ratings. 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. Even as enhanced to bring out detail for its digital transfer, the recording is a bit crude and dynamic compression raises the noise floor to cloak the fragile interplay of harps and celesta in Neptune, a sorely missed effect, as Stokowski bloats the final movement to nearly ten minutes (compared to a "normal" seven or so) and thus trades its inherent gentle momentum for a far different but equally apt sense of timeless suspension. 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. 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. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Smooth Classics with Myleene Klass Jupiter is named after the Roman king of the gods. 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. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). 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. Difficulty : E approx. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. 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'. Perhaps the best example of this is actually at the beginning of the piece, where we hear the repeating ostinato rhythm from the strings which drives and dominates this whole movement. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). (in Bb) Hn. In doing so, he opened an entirely new world for himself." This heavier section is like its trying to communicate with everyone possible, not just the top or bottom of social scales, but everybody in-between too. 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 Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago.
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