Jupiter Ian Deterling 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. 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 In Roman mythology, Jupiter was the god of the sky and thunder. To enjoy Prime Music, go to Your Music Library and transfer your . Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 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. Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. 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. He has come down from Olympus to flirt with beauties in the mortal . 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. Toronto Symphony Orchestra, Peter Oundjian. Saturn, the Bringer of Old Age 6. Its first public performance took place in 1920, and it was an instant success. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). 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. Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano 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. So what makes the twinkling sound within this movement? Holst specifies: "This bar is to be repeated until the sound is lost in the distance." Release date from LSO Discography . The mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. At first he wanted to set to music a group of hymns from the Rig Veda, the oldest Hindu text, but "finding the English translations he discovered were hopelessly stilted, Holst decided to learn Sanskrit so that he could translate the words to his own satisfaction. Yet Karajan's approach sets a standard for the continuing modern trend of turning away from the sort of interpretive license that had been expected in the past but which has come to be considered crude by current orchestral (as opposed to solo) performance standards. We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. 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. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. 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. 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. 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. A beginner's guide to Gustav Holst's 'The Planets' Suite - Classic FM 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. Jupiter, the Bringer of Jollity - A beginner's guide to Gustav Holst's Jupiter: The Bringer of Jollity: this movement embodies the joy of living. The most unconventional part of this movement, however, is Holsts use of a female choir in the latter half of the movement. Jg 2 types of this equipment include the fabry perot Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. So after. This site uses cookies to offer you the best possible experience. 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'. "), 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. 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. 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 Planets: Suite for large orchestra | Gustav Holst 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. A related facet is the extent to which each movement relates to its titular god. Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. 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. 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). Simplicity is bliss throughout this movement, with the main melodic cell being intertwined in the horn and oboe rising step movement, which is contradicted by the flutes downward step movement. (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.) Billed annually at $39.99 Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. In short, this movement reveals Holst as the gutsy risk-taker that he was. 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 . 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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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. 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.". 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 [? Jupiter, the Bringer of Jollity. 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. I truly doubt that! The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. 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). Imogen confirms that Holst followed this directive in his own performances. 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. 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." 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? 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. 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. 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. Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: $73.00: View: Jupiter--Bringer of Jollity: Full Orchestra Conductor Score: $9.00: View: Jupiter (Bringer of Jollity): 2nd B-flat Trumpet PDF Download By Gustav Holst / arr. 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. 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. #8. The Planets - Jupite 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. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. Sargent's reading is remarkably potent, from a downright spooky opening as Mars seethes toward a giant climax, to alarmingly loud bells that shake off any sense of torpor in Saturn, and earth-shaking organ pedal points and huge tympani that magnify the drama of Uranus. Musically though the piece is in strange time signatures such as 6/4 and 9/4. The full orchestra winds up "in a bubbling cauldron of sound" (Crankshaw) only to vanish with a massive pained tutti chord as "a sudden deflated collapse into a dismal heap of nothingness" (James). 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). Asteroids And if Pluto was not enough to complete The Planets, in 2006 the Berlin Philharmonic commissioned four more pieces by diverse composers (from Finland, Germany, Britain and Australia) for an integral recording led by its music director, Simon Rattle (on an EMI CD). Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. Completed in the summer of 1893, the Andante Read more, Gustav Mahler Symphony No.2 (Genesis & Movement I) Genesis In 1888, when Gustav Mahler began working on the first and second movements of his Second Symphony, he had completely immersed himself in paradoxical Read more. This makes the piece incredibly enchanting, enthralling and completely other-worldly. 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. Related Items. Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. Jupiter, the Bringer of Jollity | Edinburgh International Festival While Karajan closely follows the score, his tempos are significantly slower than Holst's and portions can seem mechanical, notably a humorless Jupiter in which the gear-shift for a ponderous central hymn seems an incongruous intrusion. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). Add to Collection Add to Wantlist. 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. The astrologers say that Jupiter brings power, wealth, high position, fatherhood, ownership everything big. The London Symphony Orchestra Conducted By Gustav Holst - The Planets It is made mainly of hydrogen with a quarter helium and has at least 69 moons. For me, and for others it seems, this gradual build up paints a picture of time passing by, which directly relates to the characteristic of the planet The Bringer of Old Age. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. 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. This makes the score interesting to read as some instruments will be scored in flats, others in sharps, and others with no key at all. Program Notes. A Bringer of Jollity - sites.psu.edu 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). The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . 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." He was previously married to Isobel Harrison. 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. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". One accurate version. Holst | Jupiter, the Bringer of Jollity (The Planets) | Wind quintet The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. Dec 24, 2010 7:00 AM. Unfortunately, only Mars, Mercury, Jupiter and Uranus were recorded, perhaps to focus on the faster movements that were easiest to capture, would have the most popular appeal, would provide a marketing advantage by fitting onto four rather than seven discs, and seemed best matched to Coates's spontaneous musical temperament. With deep roots, both parental and musical, in England and Russia, Coates absorbed the unabashed subjective outlook of his mentor Arthur Nikisch, who reportedly told him to trade his conductor's baton for a whip. For the final movement Holst returns to the 5/4 time signature (which he specifies as 3 beats followed by 2, the same way the Mars rhythm is felt) that launched his Planets, but now, having probed the nobler aspects of the human condition, the militant hammering of Mars has fully ceded to a silken rustle. Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. "We Will Rock You" by Queen is the epiphany of motivational team music. 3:52 . 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). 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." Yet she even suggests that "it may be a fault that it is too clear-cut, a sharp outline when perhaps a vague impression would have sufficed," which Hutchings attributes to Holst's peculiar psychosis of austerity. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. Comparing Holst's two recordings, the second obviously has richer sound. Add Review. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. But perhaps one of the earliest foretastes of that bond came with the 1970 reissue of the 1960 Boult/Vienna State Opera Orchestra Planets on Westminster Gold, a label known for metaphoric and often witty (if occasionally tasteless) covers that presumably strove to lure unwitting pop fans to the classics. While the piano score is useful for study purposes, despite the technical excellence of several recordings the keyboard version unavoidably purges The Planets of all its color and texture. 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. That is, in fact, the way to describe this work. 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. How Holst's Jupiter influenced film and video game scores - CMUSE The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. These pieces were each a representation of how each planet's characteristics is depicted. Marketplace. JUPITER, the bringer of jollity. Before considering orchestral recordings of The Planets, we should briefly note the original two-piano version. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. 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. 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. 'The Planets' At 100: A Listener's Guide To Holst's Solar - NPR.org That is just about the finest imagery of Jupiter from the ground I have ever seen! John Marsh 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. 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.). This reception is rather interesting as Holst himself never deemed the work to hold much worth, nor did he think its popularity was quite justified. 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). Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. It has outrun the dimensions of a suite, and become a cycle of tone poems." As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. From the Album Gustav Holst: The Planets . Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter from the Planets Saying this though he was said to have a soft spot for his favourite movement, Saturn. Neptune is in the far reaches of the solar system and the end of this movement is a gradual fade out, with the last thing the audience should hear is the very far away ladies choir (who have started to walk away to create the fade out effect). This adaptation condenses this monumental movement into a 5-part + percussion arrangement. Its techniques like these that make this music sound space-age and very modern for its time. 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).
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