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. - 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 Uranus, the Magician 7. 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. 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. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). The last melodic cell is built up throughout different instruments (its repeated 12 times to be precise!) Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. 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. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. 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). 5. 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. 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)? 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. It is the fifth planet from the sun and is another gas giant. Rapidly ascending scalar motion. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. Gustav Holst - Jupiter the Bringer of Jollity Tab. 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. 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. 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. 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. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. 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. [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 Planets Op.32 : VII Neptune, the Mystic. After the calmness of Venus, we bounce straight into the third movement, Mercury The Winged Messenger, which takes us on an exciting journey, though it is only brief, with this movement being the shortest of the seven. 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. at jwpepper.com. All of these different quirks creates this exciting, fast-paced movement which is slotted in near the middle of the suite (which correlates with it being written last in 1916). Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Saturn, the Bringer of Old Age $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. In short, this movement reveals Holst as the gutsy risk-taker that he was. All Rights Reserved. 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. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. 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." 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. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 Orchestra Sheet Music. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). 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. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. A more distant inspiration came from Holst's fascination with Hindu philosophy and Sanskrit literature. 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. (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.) Jupiter, the Bringer of Jollity. 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. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. 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." - Orrin Howard 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). 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." The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. Credits. What about Pluto? Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). 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. 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. 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. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. From the Album Gustav Holst: The Planets . Add to Cart Add to List. He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. The Planets: The overview. 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. This movement is also bitonal, and is the only one of the whole suite that is. In doing so, he opened an entirely new world for himself." Indeed his daughter Imogen insists upon their "characteristic authority. Sargent sees it as confounding logic, working miracles divorced from reality. Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. For details on how we use cookies, see our. Cl. 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. Within the basic tempos Imogen calls his beat "clear and unfussy. Paid users learn tabs 60% faster! 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. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. 4 - Jupiter (The Bringer Of Jollity) A: Part 1: B: Part 2: Ad. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. 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. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. These pieces were each a representation of how each planet's characteristics is depicted. 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. Listen Now . Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. The Planets. 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. 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. 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. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. Add to Collection Add to Wantlist. So, as the title suggests, I finally decided to take a deep dive into classical music this month. In the interim between Pluto's ascent and demise it must have seemed tempting to complete the task that Holst, by necessity, had left unfinished, while dissuaded from the heresy of tampering with the magical ending of Neptune. 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. 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. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. 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.