jupiter, the bringer of jollity analysis jupiter, the bringer of jollity analysis

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). (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.) 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. - No. This movement is also bitonal, and is the only one of the whole suite that is. You might also enjoyEdvard Grieg:Peer Gynt Suite, Your email address will not be published. While I'm not a fan of his desiccation of the Romantics, I do value the effectiveness of his approach to the impressionists and Viennese moderns, which also works here, where the clarity of execution, crisp accents and meticulous control of dynamics create a striking sense of atmosphere in the slow movements, matched by Decca's gloriously crisp and detailed ffrr recording that highlights some unusual sonorities, including the bass oboe in the opening and husky bells in the climax of Saturn. You can count four, five or six of them, depending on whether you divide the first two into their component parts - they do behave like independent themes. 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. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. Saying this though he was said to have a soft spot for his favourite movement, Saturn. Imogen called the tempos "a revelation" and gave as an example that although Venus is marked adagio, Holst's recordings suggest more of an andante (that is, only moderately slow). James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." This stunning movement, similarly to Mars, uses 5/4 time signature, although the groupings are different from that in Mars, with this movement being grouped 3-2 as opposed to either 2-3 or 5. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. 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. 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). This makes the piece incredibly enchanting, enthralling and completely other-worldly. 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. Why did Holst launch The Planets with Mars? - 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 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 . This theme stems into theme four also, with variants being played. 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.). Required fields are marked *, Gustav Mahler: Symphony No.2 (Movement III) Movement III Also composed in the summer of 1893, the third movement was originally labelled as the second movement, as it bears many similarities to Todtenfeier. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. 4. This particular melody is quick, syncopated, and full of energy. 6. 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)? Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. 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. 03 Mar 2023 23:14:51 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. Guardian Headline src url https assets.guim.co.uk static frontend fonts guardian headline noalts not hinted GHGuardianHeadline Light.woff2 http3 true format woff2 url https assets.guim.co.uk static frontend fonts guardian headline latin1 not hinted GHGuardianHeadline Light.woff http3 true format woff. 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. 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). Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. 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. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. 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. Jupiter the Bringer of Jollity Tab by Gustav Holst. Geoffrey Crankshaw paints Holst as both a visionary and a man of vast culture, such that the unique totality and universality of The Planets reflects all facets of his protean makeup. 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. So after. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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. 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'. Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. 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. Free online tab player. 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.". 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. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. So what makes the twinkling sound within this movement? 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. (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.) This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. The album of four 78s was issued in automatic sequence (with a 1937 Boult/BBC Symphony Elgar "Imperial March" as the eighth side following the second half of Jupiter, rather than backing Mercury) and thus, unlike with the individual discs of the Holst and Coates sets, effectively prescribed that the movements were to be heard in order, wrapping up with the triumphant conclusion of Jupiter, even though Imogen reports that Holst particularly disliked such a false "happy ending.". The Planets Op.32 : VI Uranus, the Magician. Listen Now . The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. Jupiter, the Bringer of Jollity. Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. 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. This movement was written in 1914, which does make you wonder whether this movement is a somewhat musical premonition of the war that was soon about to break out (WW1). I truly doubt that! Holst is very economic in the way he uses instruments within this movement, and by not utilising all the players he had at his disposal creates an incredibly delicate sound. This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. 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. John Marsh Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. You can count four, five or six of them, depending on whether you divide the first two into their component parts - they do behave like independent themes. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. While Tomita's structure seems mostly random and the nexus between the original and his contributions is often obscure, he does produce an impressive amount and array of fresh sound, and his abundant technical facility, sense of rhythm, feeling for spatial display and overall flair for invention are fully apparent. Your email address will not be published. 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." 10pm - 1am, Symphony No.6 in D major (2) 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. 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." 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. 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. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). Commentators count among its many and diverse influences: the flexible rhythms of Thomas Morley and other English madrigalists (Douglas Lee); Berlioz's seminal Treatise on Orchestration which Holst absorbed and used as a springboard to discover sonorities of astounding originality (Harry Holbreich); Debussy's expanded orchestral palette that broke the grip of Teutonic standards upon English music (Lewis Foreman); the orchestral power and rhythmic vigor of Stravinsky's Rite of Spring (Len Mullinger); the tension and crossing between the fading Edwardian spirit (as embodied in formal education) and the rising Jazz Age (as reflected in kaleidoscopic student vulgarity) (Richard Greene); the idealistic philosophies of Walt Whitman and William Morris (Colin Matthews); a blend of Hindu philosophy and English folksong that set Holst on a path far from the mainstream of traditional European form in which his early works reveal a thorough grounding (Matthews); and exploration of folk music and modes of eastern scales and rhythms that induced individual flavors and an escape from Anglo-German melody (Arthur Hutchings). Each of the seven movements depicts the astrological qualities of a planet in the solar system. Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. Gustav Holst - Jupiter the Bringer of Jollity Tab. 32, in full The Planets: Suite for Large Orchestra, original name Seven Pieces for Large Orchestra, orchestral suite consisting of seven short tone poems by English composer Gustav Holst. Uranus expresses magical forces, animation and playfulness to the mix. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). Even within each movement, Holst does not organically develop his themes symphonically, but rather uses them to create a structure suited to the psychological character and associations of each planet. 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. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Imogen recalled: "He found it the most exhausting job he ever had to do, for the large orchestra was crowded into a comparatively small room, the string players were unable to draw their bows to the full length of a crescendo, and the superb horn player broke down 13 times at the beginning of Venus from the sheer discomfort of not having enough air to breathe." In doing so, he opened an entirely new world for himself." Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: That said, he and his orchestra produced quite a credible performance. In keeping with Leo's guidance, Malcolm Sargent, a close associate, recalled that Holst didn't believe in astrology as being prophetic, but rather was attracted by the notion of each planet shedding rays of influence upon the earth and mankind. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. 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. B Theme. The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. Its first public performance took place in 1920, and it was an instant success. Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. The idea of not using a stable ending to the end of a suite, or any orchestral piece, was a newer technique and was embraced by Twentieth-Century composers for years to come. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. Just the kind of opening a "bringer of jollity" should have. 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. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. The Planets: The overview. That, in turn, suggests that the very notion of authenticity cannot be reduced to a single set of parameters and that great music can only be enriched by a range of personal interpretation. 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. 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. (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.) 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. By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player 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? This site uses cookies to offer you the best possible experience. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Your Amazon Music account is currently associated with a different marketplace. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. Dec 24, 2010 7:00 AM. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. For instance, he uses 6/8 bouncing quavers in the winds, semiquavers (grouped in fours) in the strings and then crotchets within the ensemble which give a 3/4 feel. 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. 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. 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. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. Whatever path you may take it does not take away from the fact that the music has gone into complete turmoil for a section of this piece. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. Macmillan is barely mentioned in the standard reference books and seems to have made very few recordings (and of those most were as an accompanist, including spirited Bach and Beethoven concertos with compatriot Glenn Gould), and so we have little basis to generalize his style. Composed By - Gustav Holst; Notes. No items for sale for this Release. 8. In the Arts Gazette, Dunton Green observed: "It was an injustice to the composer to rob his planetary system of the two stars whose soft light would have relieved the fierce glare of the five others." 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. 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. 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. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in a broad sense." 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. Saturn, the Bringer of Old Age 6. 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. The Planets is best known for his orchestral composition. Add to Collection Add to Wantlist. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. rapzh.com 2017 - 2023. (Please understand: I'm not a musical snob beyond my recordings of serious music, I have (and enjoy!) Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. After the calmness of Venus, we bounce straight into the third movement, Mercury The Winged Messenger, which takes us on an exciting journey, though it is only brief, with this movement being the shortest of the seven. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). He March 15, 2011 . In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. 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. 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. Greene adds that Holst regarded planetary influence as a metaphor for various aspects of human personality and through each movement of The Planets sought to portray psychological drama within aspects of human character. 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.