jupiter, the bringer of jollity analysis

4 - Jupiter (The Bringer Of Jollity) A: Part 1: B: Part 2: Ad. As an astrologer, Bax introduced the concepts and writings about astrology to Holst, which allowed him to rediscover theosophy and philosophy. In 1944, drawing players from the Los Angeles Philharmonic, he had created an orchestra for the Hollywood Bowl and recorded a few short pieces with them at the time, but after that he returned only once to conclude their 1955 season. Uranus is perhaps my least favourite, but all the same its still a great piece of music and I feel like it does fit well into the mixture of movement Holst has written. Dec 24, 2010 7:00 AM. What the title doesn't suggest, though, is that I was [i]not[/i] doing okay this month. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). - Orrin Howard Its small details like the bass flute bringing a darker timbre underneath the concert flutes, and the celeste bringing a beautiful dulcet tone alongside the harp. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1917.In the last movement the orchestra is joined by a wordless female chorus. Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. 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). The theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. Moving beyond philosophical and astrological implications, Richard Freed concludes that The Planets is just as much about the character of the modern orchestra itself than having any extrinsic meaning. Jupiter Ian Deterling 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. 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. 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. 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. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). Even though he composed other pieces such as Sita, an opera, Beni Mora, and Cloud Messenger, nothing elevated him to the level of artistic greatness as The Planets did. How Holst's Jupiter influenced film and video game scores - CMUSE Even as enhanced to bring out detail for its digital transfer, the recording is a bit crude and dynamic compression raises the noise floor to cloak the fragile interplay of harps and celesta in Neptune, a sorely missed effect, as Stokowski bloats the final movement to nearly ten minutes (compared to a "normal" seven or so) and thus trades its inherent gentle momentum for a far different but equally apt sense of timeless suspension. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). ; Hatsune Miku has competition with A.A's "VII. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. The headnotes below list the conductor and the orchestra in bold (the choir's role is too brief to warrant mention), followed in parentheses by the year, original label and format and, if different, the reissue I heard. 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," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. 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." 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." Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. Only then did another appear, and from a rather obscure and unlikely source. "Jupiter" from The Planets by Gustav Holst by John Kronlokken - Prezi RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. at jwpepper.com. 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. (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.) $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Indeed, Holst's orchestration is often cited as a prime glory of The Planets. The theme alone in this section melodically rich, appealing and compelling, with this section being very separated from the rest of the movement in mood, timbre and also texture. In a somewhat related development of pop culture, not only Williams's Star Wars but countless other sci-fi outer-space movie soundtracks have been (and still are being) derived from The Planets. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. Jupiter - Musical Investigation Gustav Holst: The Planets Suite - AquarianAge 5.0 out of 5 stars 2 ratings. 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. 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. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. Jupiter Bringer Of Jollity : A Celebration Of The Birth Of Christ Jupiter, in particular, careens amid super-charged tempos that the orchestra delivers with electrifying accuracy (but after all, it was used to Toscanini) and Uranus thrills as instruments jostle for attention. Jupiter, The Bringer of Jolity from The Planets Gustav Holst Arranged by Sandra Dackow Grade: 4 This full-length arrangement of Jupiter is also on a massive scale, uncut and making every attempt to include all of the elements, if not instrumental colors, of the original. Foreman posits that the progression parallels the ages of man, from youth to old age. C Theme. 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. 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. Release date from LSO Discography . 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.". 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. Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. Imogen emphasized that "clarity was his watchword," that "he never could understand slovenly workmanship" and "though his music dwells in mystical regions yet it is never indefinite or shadowy." Download 'Symphony No.6 in D major (2)' on iTunes, This image appears in the gallery:A beginners guide to Gustav Holsts The Planets Suite. 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. The score is incredibly bare, which makes it sound like a piece of chamber music, which is significant as Holst would have had about 100 musicians to play with. 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. (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.) Using the new technology, Holst and the London Symphony rerecorded The Planets (plus Mercury's companion "Marching Song") between June and November 1926 (and, interestingly, he reverted to the faster tempo of the first acoustical Saturn). The Planets: Suite for large orchestra | Gustav Holst The third theme is marked pesante which means heavy or peasant like. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. The Planets Op.32 : VII Neptune, the Mystic. One accurate version. 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). Yet the harmonies are bitter-sweet and the themes are fragmented, suggesting that repose is at best temporary and that far more challenges remain in the human journey. He was previously married to Isobel Harrison. 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. Add to Collection Add to Wantlist. The Planets, Op.3: IV. Jupiter, the Bringer of Jollity He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". Jupiter, the Bringer of Jollity (arr Fisher) - Wind Repertory Project Look at the detail: the Great Red Spot . Gustav Holst: The Planets: IV. Jupiter, The Bringer of Jollity 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 Such guidance is especially important, as Holst did not provide metronome markings; rather, he labeled his movements with the traditional vague Italian terms (Allegro for Mars, Adagio for the opening of Venus, etc.). Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 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.". 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. 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.). The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Holst: The Planets, By Peter Gutmann - Classical Notes 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. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. 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. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. Whether you need to focus, get pumped up, or wind down, the right playlist at the right time has the ability to transform your day from dull to dope. Not only does Boult's Mars run about a minute slower than Holst's, but his Jupiter, Saturn and Neptune do as well appreciable differences that raise the intriguing question as to whether interpretations that differ from a composer's own can authentically represent the composer's intentions, as Boult claims his do, and not only with respect to their tempos the very texture of Holst's Mars is aggressive whereas Boult's simply is not. This heavier section is like its trying to communicate with everyone possible, not just the top or bottom of social scales, but everybody in-between too. Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. 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. Freed similarly credits Holst with innovation beyond the scoring of his predecessors: "His vast forces are deployed with the utmost imaginative flair to achieve the most delicate and subtle effects and always with the feeling of great wells of strength in reserve." 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. Holst's love of English folk song and dance is readily demonstrated here. 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." The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. 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. 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. While each individual movement has unique and fascinating import, the overall structure is significant as well. 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 Planets, Op.32 - IMSLP: Free Sheet Music PDF Download When war broke out, as James Lyons put it, he "tried to do his bit" but "no agency had any use for a fortyish musician who could not see six yards ahead of him with his spectacles on." 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. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. Each of the seven movements depicts the astrological qualities of a planet in the solar system. This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 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. 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. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. Subscribe to Plus. 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. But is the greater artist the one who briefly astonishes with unlimited resources, or another who extracts amazing things of lasting value from within the limits of the means he has on hand? A related facet is the extent to which each movement relates to its titular god. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. 3:52 . (Ian Lane) As with English madrigals and folk songs, Holst was fascinated by the use in Eastern music of non-Western scales, spare textures and unconventional time signatures of 5, 7 and even 21 beats (which he declared were more suitable for setting English words) and incorporated those features into two operas and dozens of settings of Indian religious texts. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. Even so, the balance favors the strings to the detriment of the other choirs, such that the rapid accompanying violin figurations swamp the majestic brass introduction of the rousing Jupiter melody, and the tympani are barely heard at all. Gustav Holst - Jupiter the Bringer of Jollity Tab. 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). Three months earlier Edwin Evans had expanded on this outlook in a Musical Times article, presumably with the composer's authority: "The generally accepted astrological associations of the various planets are a sufficient clue in themselves to the imagination. 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. 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. - No. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. Gustav Holst - Jupiter, the Bringer of Jollity Lyrics - Genius Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. 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. A far more inclusive, if highly opinionated, list is on the Peter's Planets website (no relation). Elegance is how the passage is composed of such a limited set of materials. "), 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. After a brief backward glance and a massive organ pedal point, a few fragments of the spirited theme linger as "faint stars in a silent void to prepare us for the final vision" (Freed). The main and hymn-like themes of Jupiter Start the wiki Featured On Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams 5. If nobody likes your work, you have to go on just for the sake of the work. The Planets. 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. 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). Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Imogen confirms that Holst followed this directive in his own performances. CM tonality throughout. 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). 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. Add Review. Burnett James paints Holst as a lonely and tragic figure, assailed with agonizing spiritual blight and a bleak despair that enveloped his whole being (and which ultimately led him to increasingly dissociate his later music from emotion). 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. 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. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. Key/tempo of playlist SummerClassical By Dominia | Musicstax 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 . Hablas espaol? The Planets - Wikipedia A6. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 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. Jupiter, the Bringer of Jollity 5. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. And let me also say that, out of an abundance of fairness and as a service to my dear readers, I did try to emulate its presumed target audience by listening again to the Tomita Planets while stoned but the effect seemed just as meaningless and pretentious and way too long.). 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.

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