It has outrun the dimensions of a suite, and become a cycle of tone poems." Jupiter (Bringer of Jollity) pour orchestre symphonique. Holst began composing the work in 1914, yet, in spite of the first section's title, "Mars, the Bringer of War," it is not a war piece, for Holst was into it before the holocaust started. The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . 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. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. The Planets. 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. The Planets is an absolutely remarkable suite of orchestral music. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. 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. 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 is, in fact, the way to describe this work. , , , rapzh.com , , - No. 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.". 7. Its techniques like these that make this music sound space-age and very modern for its time. 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. The Planets: The overview. B Theme. ]: biography and "The Planets" information on the. Within the basic tempos Imogen calls his beat "clear and unfussy. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). 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. A6. 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. (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.) 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. 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. 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. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. 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. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. $9.00 . 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. 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. jupiter, the bringer of jollity analysis - lindoncpas.com Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. MementoMori: AFKRPG / Awesome Music - TV Tropes 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. The London Symphony Orchestra Conducted By Gustav Holst - The Planets Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. Imogen confirms that Holst followed this directive in his own performances. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. To contrast the previous, quite solemn feel to the movement, there is an outburst within the orchestra, which could mean a plethora of different things. 6. Sell a . Comparing Holst's two recordings, the second obviously has richer sound. The Planets, Op. As Holst has not used lots of different themes, more he has stretched and varied a small selection, the excitement from this piece comes from short bursts of sound, which are usually initiated by the brass. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. 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'. Release date from LSO Discography . About the Orchestral Work "The Planets, Op. 32" by Gustav Holst The main and hymn-like themes of Jupiter 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. Jupiter - The Bringer of Jollity 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. 'The Planets' At 100: A Listener's Guide To Holst's Solar - NPR.org Jg 2 types of this equipment include the fabry perot The suite was written between 1914 and 1916, with it still, even after 100 years, being one of the most recorded and well-loved orchestral works (especially within Holst repertoire). That said, he and his orchestra produced quite a credible performance. The third theme is marked pesante which means heavy or peasant like. jupiter, the bringer of jollity analysis. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. Colour Coded (Original Mix) | Lars Horton Lyrics, Song Meanings, Videos Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. That's why I worried at Sanskrit." 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? Recurring 3-note ostinato. Otherwise, Boult's first outing has few unusual features. V Saturn, the Bringer of Old Age. The Planets, Op. 32 | work by Holst | Britannica Saying this though he was said to have a soft spot for his favourite movement, Saturn. 4. That is just about the finest imagery of Jupiter from the ground I have ever seen! The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. Jupiter, The Bringer of Jollity by David Soczewka Imogen reports that Holst hated incomplete performances (even though at first he had led several himself) and the result here gives a rather warped impression of Holst's concept; moreover, if the Coates set is played in the prescribed order, it closes with the end of Uranus that functions to set the mood for the true conclusion of Neptune and sounds tentative in isolation (although since the movements were on separate records their order could be rearranged, perhaps to end with the triumphant finale of Jupiter.). But then a sudden explosion ushers in intense activity that, according to Matthew, uses solar winds as a starting point. Jupiter, the Bringer of Jollity 5. He drafted it as a two-piano score during weekends in a soundproof room at St. Paul's Girls' School in Hammersmith where he taught and, due to his neuritis, upon whose students he relied to perform his sketches and write out the orchestral score according to his directions. Hablas espaol? Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. Look at the detail: the Great Red Spot . Holst specifies: "This bar is to be repeated until the sound is lost in the distance." Jupiter, the Bringer of Jollity. Holst's own imagination had been stimulated by many things, not the least of which was the great literature of English folk songs, introduced to him by his life-long friend, Ralph Vaughan Williams. Imogen recalled that the slow alternating dissonant chords (emulating the third of Schoenberg's Pieces) reflect Holst being enthralled by the solemn tolling before services at Durham Cathedral of bells rung by two very old men in black gowns, thus generating the association with old age. Dec 24, 2010 7:00 AM. Jupiter is named after the Roman king of the gods. For details on how we use cookies, see our. 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." 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). I must emphasize that this does not purport to be a comprehensive or definitive survey, as I've only focused on the pioneering recordings that strike me as having significant historical and stylistic interest. Jupiter Hymn - Wind Repertory Project Jupiter--Bringer of Jollity - Alfred Music Imogen called the tempos "a revelation" and gave as an example that although Venus is marked adagio, Holst's recordings suggest more of an andante (that is, only moderately slow). C Theme. Here, while Tomita's Venus and Mars and the end of his Neptune are fairly tasteful if gimmicky adaptations, much of the rest at best is barely inspired by Holst, smothered under a din of rocket blasts, air-to-ground chatter, densely-packed crescendos and the like musical mainly in the broad Cagian sense of expanding our traditional notions to include noise and natural sound. 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 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. 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. "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. 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.". 1 in D minor: A Master of Musical Colour. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. Vernon Leidig 2nd B-flat Trumpet Part Grade: 3 Item: 00-PC-0000054_T2. JUPITER, the bringer of jollity. - 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 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. (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.) All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. He was previously married to Isobel Harrison. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. 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). - Orrin Howard 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. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. SGP on Twitter: "RT @opRaystorm: jupiter, the bringer of RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. Foreman posits that the progression parallels the ages of man, from youth to old age. 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. 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. At least to my ears, the result here is more desecration than decoration of Holst's concept. In particular, he cautioned with respect to Mars: "I well remember the composer's insistence on the stupidity of war as well as all its other horrors, and I feel that the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal and stupid power." Jupiter, The Bringer of Jollity. Gustav Holst: The Planets Suite - AquarianAge Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! 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). 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. The Planets - Wikipedia The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. 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. 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." The strings play col legno which means that the players play with the wood of their bow, not the hair. 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. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. 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. The Planets: Suite for large orchestra | Gustav Holst 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. Orchestra Sheet Music. 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).