Boult had been a relative novice at conducting when he led the first private performance at the composer's request in 1918, but Holst clearly was pleased, later presenting Boult with the score inscribed: "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst." In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. Beyond the resemblance of Mars to the first movement of Schoenberg's Suite, Mullenger asserts the influence of Stravinsky's Rite of Spring (although the savage climax of that work thrives on thoroughly erratic downbeats rather than the rigid, relentless rhythm here). 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'. 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." Imogen confirms that Holst followed this directive in his own performances. Jupiter, the Bringer of Jollity - Music of the Planets Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. () - Wikipedia 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. Dec 24, 2010 7:00 AM. 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). (When he became interested in Hindu literature through translations, he proceeded to learn the original Sanskrit and wrote several Hindu-inspired works including two operas, Sita and Savitri.) Even so, Henry Balfour Gardiner, a wealthy concert promoter who advocated British works, arranged for a private performance on September 29, 1918 with the Queen's Hall Orchestra to be led by Adrian Boult as a gift prior to Holst's departure for Salonika to arrange musical entertainment for troops. 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." Holst: The Planets | Young People's Concerts - Leonard Bernstein How Holst's Jupiter influenced film and video game scores - CMUSE This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 The Planets: The overview. Smooth Classics with Myleene Klass Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. Best First Listens of February 2023 [Finn Finally Gets into Classical Rather, it projects a sense of jagged complication, driven forward by a beat of eighth notes yet stumbled by another beat of triplets, a rhythm that is challenging to follow and that defeats with faltering indecision any notion of regularity or feeling of stability. 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. For details on how we use cookies, see our. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". 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. 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) However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Your email address will not be published. Come to think of it, he might also find it a little embarrassing to be told that his suite is shy one planet, although had he kept up with astronomical findings he would have learned of the discovery of the planet Pluto in 1930. His Planets belies his reputation for levelheaded performances of precision and polish that is, being more dependable than exhilarating and in the process further dispels notions of Holst's own artistic temperament as methodical and cautious. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". All Rights Reserved. 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. By bringing together all the movements with this delicately thought-out movement, I feel that it ends in the best way possible wanting to know more. 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. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . He was previously married to Isobel Harrison. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. 3:52 . This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. Holst composed The Planets from 1914-16 after studying astrology. He 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). 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. 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. Matthews agrees that "Holst's ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.". Jupiter, the Bringer of Jollity - A beginner's guide to Gustav Holst's Within the basic tempos Imogen calls his beat "clear and unfussy. Isao Tomita was a Japanese pioneer who sought to move electronic music beyond imitations of conventional instruments by applying a full range of sound that he envisioned as comparable to a painter's palette. Toronto Symphony Orchestra, Peter Oundjian. Why did Holst launch The Planets with Mars? Asteroids And if Pluto was not enough to complete The Planets, in 2006 the Berlin Philharmonic commissioned four more pieces by diverse composers (from Finland, Germany, Britain and Australia) for an integral recording led by its music director, Simon Rattle (on an EMI CD). As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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. This site uses cookies to offer you the best possible experience. Jupiter, the Bringer of Jollity | Discover Magazine Jupiter Hymn - Wind Repertory Project 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. 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. 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. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. The Planets is best known for his orchestral composition. "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. Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. No items for sale for this Release. Start the wiki Featured On 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. That's why I worried at Sanskrit." 6. Jupiter, the Bringer of Jollity Play track Love this track More actions Listeners 47.3K Scrobbles 152.1K Join others and track this song Scrobble, find and rediscover music with a Last.fm account Sign Up to Last.fm Length 9:22 Lyrics Add lyrics on Musixmatch Do you know any background info about this track? It is the fifth planet from the sun and is another gas giant. Indeed his daughter Imogen insists upon their "characteristic authority. The Planets: Suite for large orchestra | Gustav Holst They play a fifth interval, then drop a semitone, which is repeated throughout this section. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Consistent with his other rousing recordings, he leads a full-blooded reading of The Planets, even faster than Holst's (except for the central Jupiter hymn) and with sharper contrasts and more emphatic climaxes. This is a concept we can all relate to and the idea of growing old is seen differently by everybody, therefore when the solemnn procession enters it affects people in different ways as people will see it subjectively. The second movement, Venus, provides us with an incredible contrast to the previous movement. While none attracted much notice or met with any appreciable success, their underlying character would permeate The Planets. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. 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. And since the British composer was distressed at the immediate success of the seven-movement work when it was introduced in 1919 - he never considered it one of his best efforts - its rebirth could only cause him further chagrin. Holst's love of English folk song and dance is readily demonstrated here. Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. 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. Jupiter, the Bringer of Jollity. 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. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. 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." Elegance is how the passage is composed of such a limited set of materials. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). 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. 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. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. In notes to his 1967 recording, Boult expressed the hope that his BBC set "came near the composer's intentions" and that his subsequent recordings, while taking advantage of technical improvements, would "still sound faithful and authentic." 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. Gustav Holst - IMDb 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. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. 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. For me, and for others it seems, this gradual build up paints a picture of time passing by, which directly relates to the characteristic of the planet The Bringer of Old Age. Uranus, the Magician 7. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. 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. 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, The Bringer of Jollity Instrumentation The instruments used in this piece is: four flutes three oboes one English horn three clarinets one bass clarinet three bassoons one contrabassoon six horns four trumpets two trombones one bass trombone one tenor tuba one bass tuba 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. He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). 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. 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. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano Despite their simultaneous appearance at the dawn of the era of electrical recording (which would seem to suggest a hearty public appetite for more), the Holst and Coates sets appear to have sufficed to sate demand for 16 years. 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. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. Jupiter the Bringer of Jollity - Timothy Judd, Suzuki Violin Lessons Orchestra Sheet Music. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). Edit Release New Submission. 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. The Planets is an absolutely remarkable suite of orchestral music. Yet if the cover managed to dupe a few kids into hearing some great music, it seemed at worst a victimless crime and, in the total scheme of things, a forgivable sin against artistic integrity. He gave as an example: "Mercury is the symbol of mind." A related facet is the extent to which each movement relates to its titular god. 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. Holst: The Planets, By Peter Gutmann - Classical Notes (True to form, Stokowski wrote a letter to the producer with detailed suggestions for improving a test pressing, including filtering out highs from "thin and metallic" trumpets and adding echo to Uranus as if it "came from a great cavern, extremely reverberant" so as to differentiate it from the rest, although neither effect is especially evident.) 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. The main and hymn-like themes of Jupiter 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." Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. 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 adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . Jupiter (Bringer of Jollity): 2nd B-flat Trumpet 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. 32. 98 $9.95 $9.45 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). Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. Saying this though he was said to have a soft spot for his favourite movement, Saturn. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. Jupiter Bringer Of Jollity : A Celebration Of The Birth Of Christ His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). The opening bars of Saturn are often referred to as a ticking clock. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). ]: biography and "The Planets" information on the. Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano) Sheet music for Piano (Solo) | Musescore.com Winter Sale: 65% OFF 04d: 09h: 05m: 39s View offer 00:00 / 06:41 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. 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.". As Foreman notes, the resulting torso left an impression of undue heaviness. That said, he and his orchestra produced quite a credible performance. Its first public performance took place in 1920, and it was an instant success. Lyrics, Song Meanings, Videos, Full Albums & Bios: Space Age, London Underground, Yes, I Did It (Christian Hornbostel Remix), Redox, Resonatory Aspects, Straight - Phonista Remix, Metaphysic, Yes I Did It (Christian Hornbostel Remix), Velocity (Dan Rubell Sargent sees it as confounding logic, working miracles divorced from reality. The Planets, Op. 7 images 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. Indeed, robbed of its usual quirky edge, his Mars is suffused with a world-weary air and casts a pall over the rest of the work that is never fully dispelled; its final chords seem weighed down with regret, aptly leading into a Venus that seems less an aura of peace than a futile plea. Jupiter, The Bringer of Jollity. Look at the detail: the Great Red Spot . Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. 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. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 Matthew, Colin: "Holst" article in Stanley Sadie and John Tyrrell, eds., Matthews, Colin: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Mullenger, Len: "HOLST Suite: The Planets" article on the, Reid, James: An Astronomers Guide to Holsts, Sargent, Malcolm: notes to his BBC LP (Capitol SG 7196, 1958), Schoenberg, Arnold [quoted in a Los Angeles Philharmonic, Trippett, David: "A Biography of Gustav Holst, Part 3: 1915-1928" article on the, Tuttle, Raymond: review of Judd/Royal Philharmonic Denon CD in, Ward, Benjamin [? 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. 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. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. Rapidly ascending scalar motion. 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. 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. Uranus expresses magical forces, animation and playfulness to the mix. Jupiter - The Planets A beginner's guide to Gustav Holst's 'The Planets' Suite - Classic FM Holst's students hurriedly copied the parts and only two hours of rehearsal were available. 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.". Release date from LSO Discography . 32, was written between 1914 and 1916. 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. 8. Gustav Holst - Jupiter, the Bringer of Jollity Lyrics - Genius He didnt submit to the conventional rousing finale (he used Mars at the beginning and Jupiter in the middle) but instead, he used the exact opposite. 5.0 out of 5 stars 2 ratings. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! Cl. 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).