5.0 out of 5 stars 2 ratings. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 32 between 1914-1916. 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." Saying this though he was said to have a soft spot for his favourite movement, Saturn. He 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." Although it has since become a clich to depict outer space, Holst's inspired final touch is two wordless female choruses, each divided in thirds. Depending upon one's vantage, Karajan's objective precision either lets the music speak for itself with intrinsic integrity or heartlessly drains it of human communication. 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. (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.) 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. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1917.In the last movement the orchestra is joined by a wordless female chorus. Add Review. Comparing Holst's two recordings, the second obviously has richer sound. 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. Even so, the balance favors the strings to the detriment of the other choirs, such that the rapid accompanying violin figurations swamp the majestic brass introduction of the rousing Jupiter melody, and the tympani are barely heard at all. In any event, for a work glorified for its magnificent orchestration it's hard to imagine a more suitable match than the conductor who, more than any other of his generation, reveled in instrumental color and was deeply involved in the recording process and the sheer sound of his records. 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. Course Hero uses AI to attempt to automatically extract content from documents to surface to you and others so you can study better, e.g., in search results, to enrich docs, and more. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. 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. 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. 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. Perhaps for that reason Holst wrote it last, rather than in order as with all the other movements, so that it could subsume the qualities of his other planets. 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. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. 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. 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. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. In 1981 Karajan remade The Planets with his Berlin Philharmonic (DG LP and CD) but its slower pace is magnified by the midrange emphasis of the recording's tonal balance, which disserves the gleaming clarity of Holst's multi-faceted orchestration. VIDEO COMMENT Holst's "Jupiter" +9 - As long as it's played well it sounds amazing on anything: : Gustav Holst - A Fugal Overture (1922) +3 - Holst didn't write a movement for Earth, but the Fugal Overture would be an interesting insertion . Along with this rhythmic ambiguity, there is no set key to the piece, you can make a guess of where the tonality may be, but it is quite tricky. Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. 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. 7. 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. 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. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. Toronto Symphony Orchestra, Peter Oundjian. Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". 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. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. March 15, 2011 . and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. rapzh.com 2017 - 2023. JUPITER, the bringer of jollity. 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. That was pretty fun. While Karajan closely follows the score, his tempos are significantly slower than Holst's and portions can seem mechanical, notably a humorless Jupiter in which the gear-shift for a ponderous central hymn seems an incongruous intrusion. The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet Sheet music for Clarinet other (Woodwind Quartet) | Musescore.com Winter Sale: 65% OFF 03d: 21h: 14m: 39s View offer 00:00 / 01:24 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. Even allowing her some degree of exaggeration, the technology surely did present daunting challenges the size of the orchestra had to be drastically reduced, instruments were hard to distinguish when shorn of their highest overtones, string basses couldn't register at all, and dynamics had to be compressed to dwell between a floor of surface noise and a ceiling of distortion. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. Release [r26171738] Copy Release Code. 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.). Imogen confirms that Holst followed this directive in his own performances. "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. 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. 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. Your Amazon Music account is currently associated with a different marketplace. He gave as an example: "Mercury is the symbol of mind." 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. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. Program Notes. [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. 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). Every artist ought to pray that he may not be 'a success.'" The strings play col legno which means that the players play with the wood of their bow, not the hair. Start the wiki Featured On Holst's students hurriedly copied the parts and only two hours of rehearsal were available. Thus Greene contends that the slow tempo reflects the pace of the aged, the oscillating chords hold tonal progression in abeyance as a symbol of timelessness, the gradual accumulation of tonality suggests steady progress, and the final tune sounds cold and arid, to which might be added that the constant syncopation tempers inevitability with unease. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. 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. Each movement was issued singly and then together in a seven-disc album. While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. 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. At least to my ears, the result here is more desecration than decoration of Holst's concept. 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. 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. 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.". 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. Indeed, Holst's orchestration is often cited as a prime glory of The Planets. In any event Holst denied that horoscopes had anything to do with The Planets but rather that, as the underlying idea of astrology, "the character of each planet suggested lots to me" and that he regarded the universe as "one big miracle." Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. 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. This movement in general is quite unconventional, which has been said to represent the idea that Uranus as a planet moves on its own side axis, which in itself is different. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. 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. 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. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. 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. Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. "), 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. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. Ive worked out that the first section is in E minor, but after that point is goes between C minor, E major and Db minor. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. 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. 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. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. 32. Yet she even suggests that "it may be a fault that it is too clear-cut, a sharp outline when perhaps a vague impression would have sufficed," which Hutchings attributes to Holst's peculiar psychosis of austerity. 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. 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. 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. In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. Free online tab player. Paid users learn tabs 60% faster! Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). (in Bb) Hn. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. 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. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. Any meaningful consideration of Planets recordings begins here. 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." Hablas espaol? From the Album Gustav Holst: The Planets . The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. 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. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". 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). The Planets, Op. 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). The theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. 7 images 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. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. 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." Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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). Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". The contrasting timbres is a testament to how good Holst is at both composing and orchestrating as this movement is bursting to the seams with incredibly memorable themes. 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.". Completed in the summer of 1893, the Andante Read more, Gustav Mahler Symphony No.2 (Genesis & Movement I) Genesis In 1888, when Gustav Mahler began working on the first and second movements of his Second Symphony, he had completely immersed himself in paradoxical Read more. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). 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. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. The main and hymn-like themes of Jupiter Was Holst implying that the predominant psychosis of mankind, from which all human activity flowed, was steeped in and governed by aggression, hostility and conflict (hardly a surprising outlook on the brink of a war that threatened to be of unprecedented scope and destruction)? Smooth Classics with Myleene Klass Sell a . $9.00 . Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. The Planets, Op. 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. ; Hatsune Miku has competition with A.A's "VII. Jupiter is named after the Roman king of the gods. The fidelity (possibly goosed in digital transfers) is markedly improved over the predecessors', displays a greater realm of textures, especially in the delicate instrumental interplay of Venus, and allows finer appreciation of the magnitude of Holst's flair for colorful orchestration. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." Marketplace. 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.