- 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 Indeed, Holst's orchestration is often cited as a prime glory of The Planets. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. 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. With the harmonic ostinato (the harmonic intervals being of two half-diminished seventh chords Bdim7 and Adim7) and the oscillating chord changes between the flutes and harps creates a dark image for the listener. Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. 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. To enjoy Prime Music, go to Your Music Library and transfer your . 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 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. After the relative handful of recordings during the first half-century of its existence, and nearly a decade after Karajan became the last outsider to break the British hegemony of artists, the marketing floodgates opened in the early 1970s with a sudden abundance of a half-dozen new Planets LPs, to be joined since then by dozens more. In the interim, Holst himself conducted just Venus, Mercury and Jupiter in April 1919 at Queen's Hall and Henry Wood led the same movements that December, setting a precedent that would be followed for several years until the full orchestral score was published in late 1921. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. Holst also very cleverly uses a cross-rhythmic hemiola (a hemiola is where 2 different time signatures at once, so at one point he has part of the orchestra in 4/4 and the rest in 6/4). Orchestra Sheet Music. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). - Orrin Howard Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". 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. The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . 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. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. 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. Depending upon one's vantage, Karajan's objective precision either lets the music speak for itself with intrinsic integrity or heartlessly drains it of human communication. 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. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. Billed annually at $39.99 View Official Scores licensed from 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--Bringer Of Jollity By Gustav Holst (1874-1934) - Score and Part(s) Sheet Music for Orchestra - Buy print music AP.12202 | Sheet Music Plus. A related facet is the extent to which each movement relates to its titular god. Musically though the piece is in strange time signatures such as 6/4 and 9/4. Jupiter the Bringer of Jollity Tab by Gustav Holst. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. . Holst considered Saturn his favorite movement, perhaps in reaction to its negative press reviews or because, as Greene observes, his personality led him to identify with its traits of plodding perseverance, diffidence, apathy and endurance, all of which are reflected in the musical grammar. He The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. ", Finally, moving from the sublime to the ridiculous, In the thrall of the social transformations ushered in by Hair and the Age of Aquarius, in 1970 James Lyons foresaw the extra-musical connotations of The Planets as "ramifications for our future that are variously fascinating and frightening." Buy song $0.99. In his preface to The Planets, Holst advised that there is no program in the pieces and that the subtitles should be sufficient to guide the imagination of the listener. 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). 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. ABRSM Grade 8. 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 shortest movement at nearly four minutes, about half the length of the others, and with the fastest tempo (vivace), it flits between distant keys (B-flat and E) and duple and triple meters as its motif (barely a theme Foreman calls it "a fragment from some half-remembered folk tune") careens among various instruments in delightfully transparent scoring. Theme five is an amalgamation of the pesante theme with the fanfare theme, which gradually gets a little faster before we arrive at theme six. This movement Read more, Gustav Mahler: Symphony No.2 (Movement II) Movement II Once Mahler had completed the Second Symphony, he became troubled as to where the Andante movement should be placed. Holst composed The Planets from 1914-16 after studying astrology. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. 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. The work sounds just as it did when Holst used to conduct it before a Queen's Hall audience," even though she allows that by having to record each side straight through "there may be details which Holst would have liked to improve, but the performance as a whole is a magnificent achievement.". 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. Within the basic tempos Imogen calls his beat "clear and unfussy. If nobody likes your work, you have to go on just for the sake of the work. He has come down from Olympus to flirt with beauties in the mortal . 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. The strings play col legno which means that the players play with the wood of their bow, not the hair. Flaws aside, Holst is an enormously persuasive advocate for his Planets and either set affords the incomparable thrill of eavesdropping on a composer supplementing the cold written score to infuse his creation with the essence of his personal creative spirit. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. 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. At least to my ears, the result here is more desecration than decoration of Holst's concept. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. 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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. 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. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. 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. 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. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. 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. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). Ob. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. 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. As the result of this reticence, Crankshaw asserts that the mighty force of Holst's augmented orchestra "is used with such discrimination that the overall impression is not of Straussian sumptuousness but of many-stranded colour-schemes which coalesce only occasionally into full emblazonment." The Planets Op.32 : VI Uranus, the Magician. The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. 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." 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. Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. Every artist ought to pray that he may not be 'a success.'" John Marsh 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. 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). Recurring 3-note ostinato. 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'. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. Program Notes. 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. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. 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." This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. 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). I have always interpreted this build up section to be like a message between the planets, with the different instruments representing the different characteristics of the planets. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. 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.
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