The opening bars of Saturn are often referred to as a ticking clock. C Theme. Boult contends that "if it is possible for a piece of music never to finish, this is what happens here" and that the prolonged diminuendo following "this tuneless, expressionless, shapeless succession of cloudy harmonies, suggesting as it does an infinite vision of timeless eternity" makes us wonder if we still hear the chorus "or only hold them in our memory, swinging backward and forward for all time." (Please understand: I'm not a musical snob beyond my recordings of serious music, I have (and enjoy!) 8. B Theme. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. 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. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. Boult also led the first public performance on February 27, 1919, while Holst still was away, but omitted the final two serene movements (perhaps in part to save the cost of the wordless female chorus that makes its only appearance at the end of Neptune). A6. 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." 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. "), 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. That's why I worried at Sanskrit." Smooth Classics with Myleene Klass Buy song $0.99. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. 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. Thus the world was hardly prepared for the innovative and eclectic Planets, which seemingly arose from a near-void and, much to the composer's frustration, despite his variegated output came to define him as a "one-hit wonder.". 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." He was previously married to Isobel Harrison. 2023 Los Angeles Philharmonic Association. Holst composed The Planets over a course of two years, beginning in the summer of 1914 with Mars and continuing through the other movements in order, except for Mercury which he wrote last. 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 Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). Equally anomalous, in lieu of the general tempo slowdown common with conductors over the course of long careers, Boult's five studio Planets follow no pattern; thus, for example, his Saturn swings from 8:15 in 1945, to 8:53 in 1954, to 8:24 in 1960, to 9:09 in 1967, to 8:23 in 1978. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). 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 [? Holst's daughter Imogen recalled that while Holst did cast horoscopes for friends, he was less interested in fortune-telling than in understanding human behavior. On a holiday in 1913 Holst became enamored of What Is the Horoscope and How Is It Cast, one of several books in which Alan Leo attempted to popularize, modernize and systematize astrology as a scientific practice concerned with the delineation of character rather than prediction. For instance, he uses 6/8 bouncing quavers in the winds, semiquavers (grouped in fours) in the strings and then crotchets within the ensemble which give a 3/4 feel. 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. 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. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. , , , rapzh.com , , 4 - Jupiter (The Bringer Of Jollity) A: Part 1: B: Part 2: Ad. 4. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. As compiled by Greene, once the entire work was heard, many critics condemned reductions to mere excerpts and were generally ecstatic in praising the immediacy, eloquence, clarity of expression, originality and importance of the entire work (although he further attributes the devotion of English critics to a reflection of national pride, whereas others' views were more tempered, with some dwelling on its derivative nature and one dismissing it as "an anthology of musical platitudes. 7. 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. The main and hymn-like themes of Jupiter He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. 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, Bringer of Jollity" is the central movement of Gustav Holst's Planets Suite and has the most varied melodic structure: with its Stravinsky-like ostinati and syncopation and a central melody as solemn as an anthem, it constitutes the quintessential early-20th-century English composition. Claiming inspiration from the innovative orchestration of Rimsky-Korsakoff, Stravinsky and Ravel, his three earlier albums (Snowflakes are Falling the Newest Sound of Debussy, Pictures at an Exhibition and Firebird) took their cues from Walter Carlos's 1968 Switched-On Bach by substituting electronic sounds for the actual instruments and thus generally respecting the structure and content of the originals. With these new lines of interest, Holst started to learn how each planet bears a different characteristic in terms of astrology, and what this means within the bigger picture. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in a broad sense." Jupiter: The Bringer of Jollity (132kb): The spirit of this music is very much in keeping with the astrological significance of Jupiter as the planet of benevolence and generosity. John Marsh In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. Add to Cart Add to List. 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. 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. On his website Tomita lists a huge gamut of signal generators, oscillators, modulators, filters, phase shifters, mixers and more that were used to produce his Planets rather ironically, more pieces of equipment than the number of instruments that would be used by a traditional orchestra to perform the original. 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. 10pm - 1am, Symphony No.6 in D major (2) Otherwise, Boult's first outing has few unusual features. This quirky theme is soon left behind as the second theme enters, which is a basic fanfare theme that is varied throughout this shorter section. Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Balances, too, are notable, with the brass in particular striding atop the strings that often dominate early electrical recordings; Imogen notes as cogent details "the bells in Saturn, the xylophone in Uranus and the distant celesta in Neptune" which indeed are audible but not intrusive. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. Uranus, the Magician Reflecting the astrological realm of eccentricity and the occult, Holst's Uranus has been compared to Dukas's 1897 Sorcerer's Apprentice in terms of their structure, orchestration, rhythm and overall aura of comic bumbling within a serious setting, even though Boult insists that Holst had never heard it. 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. On the 18th I had one of the worst emotional meltdowns of my entire life. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. 5.0 out of 5 stars 2 ratings. (in Bb) Hn. Jupiter, the Bringer of Jollity. 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. Uranus expresses magical forces, animation and playfulness to the mix. 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. 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. 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. 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. Others, though, question the semblance of The Planets to prior tone poems, as they note that it is far longer than such typical single-movement works or even Debussy's La Mer or Nocturnes (Matthews), nor a collection of short pieces (like Mussorgsky's Pictures at an Exhibition or Elgar's Enigma Variations) (Matthews), and a far less literal depiction than the tone poems of Strauss or Delius (Lee). 4 in E minor Op. That was pretty fun. You can count four, five or six of them, depending on whether you divide the first two into their component parts - they do behave like independent themes. 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. Despite their varying tempos that defy the general trend of conductors adopting more autumnal outlooks as they age, Boult's Planets do generally tend to be progressively smoother, and, of course, the recording quality itself becomes more subtly detailed as the technology develops (although even the 1945 BBC rendition already exhibits a fine tonal blend and balance). 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. Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). 32 between 1914-1916. Dec 24, 2010 7:00 AM. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. CM tonality throughout. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. He gave as an example: "Mercury is the symbol of 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 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. So what makes the twinkling sound within this movement? Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). As an astrologer, Bax introduced the concepts and writings about astrology to Holst, which allowed him to rediscover theosophy and philosophy. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). 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. 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. 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. The Planets32 7 . Apparently referring to a rapid triplet figure, Sargent envisions the planet Mars, "laughing in shouts of exultant ferocity," as it soars over the turmoil of mankind's hatred, anger, violence and destruction. A more distant inspiration came from Holst's fascination with Hindu philosophy and Sanskrit literature. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. "As a rule," he said, "I only study things that suggest music to me. Concurrent with Boult's first remake, Decca issued a competing LP that, coming at the very end of the mono era, was soon superseded by a stereo version (albeit with a different orchestra), much as Holst's acoustical set had been promptly replaced by its electrical remake. Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. Orchestra Sheet Music. Halbrick notes that the form moves from tightly structured to more open-ended. Whatever path you may take it does not take away from the fact that the music has gone into complete turmoil for a section of this piece. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. Venus, the Bringer of Peace To Leo, Venus represents affection, devotion, an even disposition, a refined nature and a keen appreciation of art and beauty, in contrast to Holst's subtitle which suggests simplification to a single attribute. 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). - 7/10 2 4 6 8 10 (6) - 5182 View PDF typeset by editors Alaric (2022/1/14) General Information Categories: Recordings Pages with First Editions Scores published by Goodwin & Tabb 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. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! 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. Louis LP (Turnabout QTV-S 34598, 1974), Holbreich, Harry: notes to the Herrmann/London Philharmonic LP (Decca Phase 4 Stereo PFS 4184, 1970), Holst, Imogen: notes to the Holst/London Symphony reissue LP (HMV Treasury HLM 7014, 1972). In retrospect that's just as well in 2006, along with over 100 other celestial objects in the same region (the Kuiper Belt), Pluto was reclassified as a mere dwarf planet (for failure to meet a criterion of the definition of a planet that its gravity dominates its neighborhood to capture as moons or clear away all other nearby objects). "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. - Orrin Howard 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. 6. Why did Holst launch The Planets with Mars? He has come down from Olympus to flirt with beauties in the mortal . 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.