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 . In program notes he asserted that the only way to carry on was to avoid any break by beginning his new movement before Neptune fully fades (and so he modifies the original ending with a sustained violin harmonic that segues into his opening). 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). The Planets: The overview. 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. 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. 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). "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. What about Pluto? "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. 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. Imogen confirms that Holst followed this directive in his own performances. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. Fortunately, a broadcast of their February 14, 1943 concert Planets has been preserved (on a Cala CD) that complements the studio version with an altogether more gripping account that wastes no time in staking its claim ignoring Holst's piano dynamic marking, Stokowski plunges into Mars at full boil and never relents, building tension to the breaking point in each of its three sections and then proceeds to inject each of the following movements with heartfelt personal touches. Billed annually at $39.99 View Official Scores licensed from 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. 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. "As a rule," he said, "I only study things that suggest music to me. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. 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 However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. While none attracted much notice or met with any appreciable success, their underlying character would permeate The Planets. 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. 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. 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. Gustav Holst was an English composer, who wrote The Plants Op. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 Credits. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. 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. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. In theory the pipe organ can overcome much of this problem with its panoply of distinctive voices, awesome power and ability to preserve a sustained mood (especially in the atmospheric Neptune), but a version by Peter Sykes (on a 1996 Raven CD) all too often comes across as a homogeneous sonic blur compared to the original. 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. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. 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). While critics at the time seemed divided along a predictable generational divide, one enthused that: "Holst might have really dug it." 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? 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. 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. The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. 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'. 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). The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. JUPITER, the bringer of jollity. The Sciences Jupiter, the Bringer of Jollity Bad Astronomy By Phil Plait Dec 24, 2010 10:00 AM Newsletter Sign up for our email newsletter for the latest science news The line between amateur and professional astronomer has always been thin. It has outrun the dimensions of a suite, and become a cycle of tone poems." Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. Its first public performance took place in 1920, and it was an instant success. The Planets Op.32 : VII Neptune, the Mystic. 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." 7 images 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 first half is soft and rather bitter, strewn with a few reminiscences of Holst's movements, and is described by Foreman as "a pianissimo world, a mercurial scurrying of chromatic runs and scales" in which "long-held very soft pedal points, evocative orchestral color, and the shining effect of harp and celesta all add to the almost tangible pictorial effect." Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. Tempos in Mars and Jupiter are significantly slower than with Holst or Coates, imbuing these movements with a deeper sense of drama (albeit at the expense of driven resolve) and in doing so elevates them yet further above the realm of standard program music. Jupiter adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. 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. 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. 4. 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. Indeed, Holst's orchestration is often cited as a prime glory of The Planets. 6. Saying this though he was said to have a soft spot for his favourite movement, Saturn. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Rapidly ascending scalar motion. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. The Planets. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. The sixth movement of the suite is dedicated to the planet Uranus The Magician. The opening bars of Saturn are often referred to as a ticking clock. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. He gave as an example: "Mercury is the symbol of mind." This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams 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. By Phil Plait. A fanfare from the trumpets, trombones and timpani announce the arrival of this movement in style as this simple melodic cell is used often throughout the movement. As the result of this reticence, Crankshaw asserts that the mighty force of Holst's augmented orchestra "is used with such discrimination that the overall impression is not of Straussian sumptuousness but of many-stranded colour-schemes which coalesce only occasionally into full emblazonment." Saturn, the Bringer of Old Age Geoffrey Crankshaw paints Holst as both a visionary and a man of vast culture, such that the unique totality and universality of The Planets reflects all facets of his protean makeup. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. If Holst's recordings were meticulous translations of his score into sound, Coates's is a deeply inventive interpretation that opened the door for others to approach it fearlessly with their own notions of personal freedom. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. 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. Halbrick notes that the form moves from tightly structured to more open-ended. Add to Collection Add to Wantlist. 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. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. Otherwise, Boult's first outing has few unusual features. Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: $73.00: View: Jupiter--Bringer of Jollity: Full Orchestra Conductor Score: $9.00: View: Jupiter (Bringer of Jollity): 2nd B-flat Trumpet PDF Download By Gustav Holst / arr. While each individual movement has unique and fascinating import, the overall structure is significant as well. That is, in fact, the way to describe this work. 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. 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. 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. 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. 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 RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . Video unavailable 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. What can we learn from these esteemed messengers? 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). Uranus is perhaps my least favourite, but all the same its still a great piece of music and I feel like it does fit well into the mixture of movement Holst has written. They play a fifth interval, then drop a semitone, which is repeated throughout this section. Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. Unlike Stravinsky, who recorded his seminal ballets only once his style had evolved radically from expressionist firebrand to detached neoclassicist, Holst began committing his Planets to disc a few years after its premiere, with the creative impulse presumably still fresh in his mind. 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. Freed concludes that the impact is to "inhabit the outer regions of a fantasy infinity in which there are no answers and even the questions are unspoken.". John Marsh 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. [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. 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. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. The movement's heart harbours a grandiloquent tune, intended to portray Jupiter taking his ease (apparently, Holst was not thrilled to see this hijacked for a patriotic hymn), and recalled briefly during the resplendent coda. He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. Foreman posits that the progression parallels the ages of man, from youth to old age. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. 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. 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). This site uses cookies to offer you the best possible experience. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. Matthews hears a range of aspects of Holst's (and, perhaps more generally, human) personality, from the quicksilver elusiveness of Mercury and extroversion of Jupiter to the relaxed lyricism of Venus and remote mystery of Neptune. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". 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." Each of the seven movements depicts the astrological qualities of a planet in the solar system. Holst composed The Planets from 1914-16 after studying astrology. : 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 . This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. (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. 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. 98 $9.95 $9.45 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. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. 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. 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. 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. That, in turn, suggests that the very notion of authenticity cannot be reduced to a single set of parameters and that great music can only be enriched by a range of personal interpretation. 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). The hymn theme (as it shall now be referred to as) is also the basis for the hymn tune I vow to thee my country. 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. B Theme. Program Notes. In a sure sign of sudden popularity, while Columbia seemingly dawdled to complete its sessions for the composer's set of electrical 78s, rival HMV prepared its own competing version, and with a fair degree of authenticity, as Coates had led the first (or, according to some sources, the second) full public performance. 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. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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. Finally, Neptune brings mystery, the paranormal and the unknown to the final concoction. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. 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. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). (in Bb) Hn. The first full public performance had to await October 10, 1920. Download and print in PDF or MIDI free sheet music for Jupiter, The Bringer Of Jollity by Gustav Holst arranged by justice24798 for Euphonium, Clarinet in b-flat, Trumpet in b-flat (Mixed Trio) A far more inclusive, if highly opinionated, list is on the Peter's Planets website (no relation). "We Will Rock You" by Queen is the epiphany of motivational team music. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. Uranus expresses magical forces, animation and playfulness to the mix. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. Uranus, the Magician 7. He was previously married to Isobel Harrison. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player Guardian Headline src url https assets.guim.co.uk static frontend fonts guardian headline noalts not hinted GHGuardianHeadline Light.woff2 http3 true format woff2 url https assets.guim.co.uk static frontend fonts guardian headline latin1 not hinted GHGuardianHeadline Light.woff http3 true format woff. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . 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 mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. 7. 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." You may be wondering why this movement always feels a little on edge, well it may be due to the time signature that this movement is in.