Isao Tomita was a Japanese pioneer who sought to move electronic music beyond imitations of conventional instruments by applying a full range of sound that he envisioned as comparable to a painter's palette. The astrologers say that Jupiter brings power, wealth, high position, fatherhood, ownership everything big. We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). 1 in D minor: A Master of Musical Colour. Mars is the first movement of the suite, and it is known for its power and strength. Brass Monkey - Beastie Boys. 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. 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. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. As several commentators have pointed out, while some of the mythological references seem appropriate (Mars, Holst's "Bringer of War," indeed was the Roman god of war), others seem obscure (Neptune, Holst's "Mystic," was merely the sea god). Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. Billed annually at $39.99 Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. 3:52 . 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. Uranus expresses magical forces, animation and playfulness to the mix. 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. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. Composed By - Gustav Holst; Notes. 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. 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). 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). 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). Vernon Leidig 2nd B-flat Trumpet Part Grade: 3 Item: 00-PC-0000054_T2. In notes to his 1967 recording, Boult expressed the hope that his BBC set "came near the composer's intentions" and that his subsequent recordings, while taking advantage of technical improvements, would "still sound faithful and authentic." 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. While each individual movement has unique and fascinating import, the overall structure is significant as well. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. Why did Holst launch The Planets with Mars? 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. Yet unlike, say, Mussorgsky's Pictures at an Exhibition or Ravel's Tombeau de Couperin that were conceived for the keyboard and only later adapted for orchestra, Holst wrote the piano version of The Planets largely out of necessity and with the full intention of orchestrating it (and apparently with no thought of public performance, as it was only published posthumously). jupiter, the bringer of jollity analysis. Your email address will not be published. Jupiter adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. Saying this though he was said to have a soft spot for his favourite movement, Saturn. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. 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. 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. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. Jupiter the Bringer of Jollity Tab by Gustav Holst. 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. This particular melody is quick, syncopated, and full of energy. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. Throughout his career Boult remained a stalwart advocate of the work and set a record of sorts by cutting it five times in the studio (in addition to numerous preserved concerts). March 15, 2011 . The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). 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'. 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). Jupiter, the Bringer of Jollity. Listen Now . So, as the title suggests, I finally decided to take a deep dive into classical music this month. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. 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. Ob. From the Album Gustav Holst: The Planets . This movement is incredibly exquisite and it ends the suite so delicately and I, as Im sure you all are, full of questions about why it has ended the way it has. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. The second movement, Venus, provides us with an incredible contrast to the previous movement. Perhaps Holst, who was devoted to searching for novel qualities among familiar instruments, would have been enthralled to hear textures beyond the reach of even his fertile imagination, limited as it was by the analog resources of his time. John Marsh The Planets Op.32 : VII Neptune, the Mystic. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. 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. 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. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. 8. The Planets is an absolutely remarkable suite of orchestral music. 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. 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. 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. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. A related facet is the extent to which each movement relates to its titular god. Bsn. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. 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 creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. Jupiter, the Bringer of Jollity 5. Jupiter Gustav Holst's Planets don't exactly line up like the real ones he skips Earth and Pluto, which wouldn't be discovered until a dozen years after The Planets premiered. 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. 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. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. - No. 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. 98 $9.95 $9.45 Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. Start the wiki Featured On Burnett James adds that while traditional astrology attempts to predict individual destiny from one's time and place of birth, Holst was more intrigued by the associative emotional connotations of each planet and in particular the psychological attributes that Leo ascribed to each planet (although Leo later would come to consider the sun to be dominant). 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. They play a fifth interval, then drop a semitone, which is repeated throughout this section. A more distant inspiration came from Holst's fascination with Hindu philosophy and Sanskrit literature. At least to my ears, the result here is more desecration than decoration of Holst's concept. So what makes the twinkling sound within this movement? It could perhaps represent church bells at a funeral (as tubular bells are used extensively here), or perhaps its alarm bells that death is approaching. 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. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. Jupiter, The Bringer of Jollity Instrumentation The instruments used in this piece is: four flutes three oboes one English horn three clarinets one bass clarinet three bassoons one contrabassoon six horns four trumpets two trombones one bass trombone one tenor tuba one bass tuba Although it has since become a clich to depict outer space, Holst's inspired final touch is two wordless female choruses, each divided in thirds. But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. Holst's students hurriedly copied the parts and only two hours of rehearsal were available. While such a resource was not entirely novel (Debussy had already used wordless sopranos and altos to conclude his 1901 Sirnes), Holst's haunting indefinite ending was quite innovative. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. The reason is unclear upon reflection did Holst feel a need to correct the original pacings, or perhaps were his own views capricious (and thus should not be taken by others as definitive)? 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." 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)? Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. 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). So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. 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. Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. The strings play col legno which means that the players play with the wood of their bow, not the hair. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Uranus, the Magician 7. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. 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. 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. Sargent considers it a consequence of Holst's characteristic modesty that, after completing The Planets, he made no effort to get it performed, although Imogen felt that her father had no reason to believe that the necessary forces could be assembled in the austerity of wartime. Billed annually at $39.99 View Official Scores licensed from 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. 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. 32, was written between 1914 and 1916. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. ABRSM Grade 8. 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. VIDEO COMMENT Holst's "Jupiter" +9 - As long as it's played well it sounds amazing on anything: : Gustav Holst - A Fugal Overture (1922) +3 - Holst didn't write a movement for Earth, but the Fugal Overture would be an interesting insertion . Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. He 5. 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). Jupiter (Bringer of Jollity): Cello Brahms's 1st Symphony, 4th Movement. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. Sargent sees it as confounding logic, working miracles divorced from reality. Finally, Neptune brings mystery, the paranormal and the unknown to the final concoction. A6. Indeed, Holst's orchestration is often cited as a prime glory of The Planets. One accurate version. 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. It has outrun the dimensions of a suite, and become a cycle of tone poems." 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 simple answer is that Pluto was only discovered and named in 1930, long after The Planets took final form. Add to Cart Add to List. Credits. 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. The mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. 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. 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 concept of the work is based not on the Roman deities that they may relate to, but the influence of the planets on the psyche, which consequently makes this work astrological, not astronomical (hence why Earth is not included). 32 between 1914-1916. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. . From that point onwards, he didnt believe in astrology (apart from the odd horoscope reading) which is ironic considering how much joy this piece had brought to others. 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. 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). 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. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. Halbrick notes that the form moves from tightly structured to more open-ended. Subscribe to Plus. Toronto Symphony Orchestra, Peter Oundjian. The first half is soft and rather bitter, strewn with a few reminiscences of Holst's movements, and is described by Foreman as "a pianissimo world, a mercurial scurrying of chromatic runs and scales" in which "long-held very soft pedal points, evocative orchestral color, and the shining effect of harp and celesta all add to the almost tangible pictorial effect." Release date from LSO Discography . Foreman continues: as quiet descends, "the distant vocalizing choir floats into our hearing again, as if it has been there throughout, and Matthews is back with Holst confronting the infinite." Such associations aside, in purely musical terms the movement begins in a soft piano menace, builds to a terrifying triple forte (fff) climax as instruments pile on, is halted by a massive discord followed by a slower 5/2 section still "haunted by the martial rhythm" after which the opening "returns with increased, almost hysterical, ferocity, ending with grinding chords" (Kennedy) as strings, brass and tympani dissonantly pound out the initial figure quadruple forte (ffff) as its rhythm finally disintegrates. "As a rule," he said, "I only study things that suggest music to me. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. This makes the piece incredibly enchanting, enthralling and completely other-worldly. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. 2023 Los Angeles Philharmonic Association. 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. 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. 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? "We Will Rock You" by Queen is the epiphany of motivational team music. There are points where the time signature is less obvious and that is part of the whole excitement of the movement! 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. 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. Gustav Holst was an English composer, who wrote The Plants Op. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. 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. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. 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. (Please understand: I'm not a musical snob beyond my recordings of serious music, I have (and enjoy!) 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). 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." Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). 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). Before considering orchestral recordings of The Planets, we should briefly note the original two-piano version. 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. Your Amazon Music account is currently associated with a different marketplace. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. 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. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." 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. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. 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. 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. The opening bars of Saturn are often referred to as a ticking clock. 7 images Of the various movements, "Mars" and "Jupiter" are the most frequently heard. Jupiter is named after the Roman king of the gods. 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. Related Items. 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. 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).