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. 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. The Planets is best known for his orchestral composition. Add to Collection Add to Wantlist. 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." 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. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. For details on how we use cookies, see our. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). Saturn, the Bringer of Old Age 6. From the Album Gustav Holst: The Planets . 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. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. 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, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. Sargent sees it as confounding logic, working miracles divorced from reality. Each movement was issued singly and then together in a seven-disc album. 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. Musically though the piece is in strange time signatures such as 6/4 and 9/4. To achieve this, Holst further instructs: "The Chorus is to be placed in an adjoining room, well-screened from the audience, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed." 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 - Wikipedia Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. 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. Holst: The Planets, By Peter Gutmann - Classical Notes Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. Cl. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. By Phil Plait. Jupiter the Bringer of Jollity - Timothy Judd, Suzuki Violin Lessons The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). Buy song $0.99. Although Macmillan was a multi-talented composer, author and teacher who was cherished as Canada's foremost musician, he and the Toronto orchestra he raised to prominence and led for 25 years were barely known abroad and it is unclear why they cut the next Planets and why only the first four movements. I believe the reason it feels more personal is down to the fact that Holst has integrated his first human element to this suite old age. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. Imogen confirms that Holst followed this directive in his own performances. Release [r26171738] Copy Release Code. If nobody likes your work, you have to go on just for the sake of the work. His career as a pianist had crashed at college when he developed neuritis so severe that he reportedly could write music only by tying a pen nib to his forefinger. 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. A more remote but intriguing interpretation evokes the tower in tarot, consistent with the Biblical Tower of Babel, representing the need to destroy the old in order to wrest freedom from the resulting chaos. Greene suggests that Holst, born under the sign of Virgo, was ruled by Mercury, and indeed credits his curiosity and intellect to the mental attributes of that planet (even though his approach to composition was methodical rather than spontaneous). Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. 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. 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. The most unconventional part of this movement, however, is Holsts use of a female choir in the latter half of the movement. That said, all of Boult's Planets recordings are splendid except for the 1960 LP with the Vienna State Opera Orchestra which is crudely played with weak ensemble. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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. In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. Boult's endings of the slow movements sound abruptly perfunctory, lending greater feeling to the extremely gradual fadeout of his Neptune. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. 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. 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." 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. 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. Rather surprisingly, while Saturn is engagingly atmospheric, much of the result turns out to be mellow and tasteful, with some disengaged playing and far less garish spotlighting of instrumental lines than we might expect. 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. 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. Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet 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. 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 In keeping with Leo's guidance, Malcolm Sargent, a close associate, recalled that Holst didn't believe in astrology as being prophetic, but rather was attracted by the notion of each planet shedding rays of influence upon the earth and mankind. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. Video unavailable 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). Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. Edit Release New Submission. 32. (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.) Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. He gave as an example: "Mercury is the symbol of mind." Holst's love of English folk song and dance is readily demonstrated here. at jwpepper.com. Rhythm to Holst was the most important thing in life, and in this recording he never for one moment allows the rhythm to sag, with the result that Mars sounds even more relentless than usual." MementoMori: AFKRPG / Awesome Music - TV Tropes By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player It is the fifth planet from the sun and is another gas giant. A Bringer of Jollity - sites.psu.edu 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.