jupiter, the bringer of jollity analysis

As he entered the final third of his life, Gustav Holst (18741934) appeared mired in mediocrity, if not bound for failure, at least by our usual measures for famous composers. 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 for that reason Holst wrote it last, rather than in order as with all the other movements, so that it could subsume the qualities of his other planets. Hablas espaol? Program Notes. 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. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. 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. Holst's work comprises seven movements, each devoted to a particular planet in our solar system (excluding the earth, the focus of the other planets' influences), beginning with the inner three but in reverse order from their distance from the sun, and then proceeding outwards through the rest. 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). Release date from LSO Discography . Holst's love of English folk song and dance is readily demonstrated here. 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. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. A stronger influence perhaps was that of Stravinsky, whose music had greatly impressed Holst before he took on the universe, the effects of which in The Planets can be seen in the very large Firebird and Petrushka kind of orchestration, in insistent rhythms, and also in striding rhythmic shifts. 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). 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. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. Imogen recalled that the slow alternating dissonant chords (emulating the third of Schoenberg's Pieces) reflect Holst being enthralled by the solemn tolling before services at Durham Cathedral of bells rung by two very old men in black gowns, thus generating the association with old age. 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. So what makes the twinkling sound within this movement? In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. 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. 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. Sure enough, six years later The Tomita Planets (RCA LP) became a pop culture phenomenon, albeit a short-lived one, as Imogen Holst charged that it mutilated the copyrighted original and successfully sued to enjoin further sales. 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). We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). Course Hero uses AI to attempt to automatically extract content from documents to surface to you and others so you can study better, e.g., in search results, to enrich docs, and more. Boult's endings of the slow movements sound abruptly perfunctory, lending greater feeling to the extremely gradual fadeout of his Neptune. Its first public performance took place in 1920, and it was an instant success. Sell a . "), 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. 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? B Theme. 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. I truly doubt that! Smooth Classics with Myleene Klass ABRSM Grade 8. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. Listen Now . 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. He gave as an example: "Mercury is the symbol of mind." 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. 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. 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. Instruments : Fl. The Planets, Op. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. 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'. 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. 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. Bsn. 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)? The last melodic cell is built up throughout different instruments (its repeated 12 times to be precise!) The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. The frantic scramble at the end of the movement leads up to the massive stabs at the end, which bring the whole orchestra together to create an exciting and powerful end to this movement. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. 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). The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. 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'. 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. The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. Not only one of the very first compositions to renounce tonal anchors and modulation in favor of extensive dissonance (but prior to tone rows), it used a huge orchestra, yet deployed with discretion to create a kaleidoscope of unusual textures within a highly expressionistic set of moods. Why did Holst launch The Planets with Mars? Freed concludes that the impact is to "inhabit the outer regions of a fantasy infinity in which there are no answers and even the questions are unspoken.". Or even it could musically represent the breakout of WW1 (as Holst was writing this movement in 1915). 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. Sargent sees it as confounding logic, working miracles divorced from reality. To enjoy Prime Music, go to Your Music Library and transfer your . What about Pluto? John Marsh 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. 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 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. 03 Mar 2023 23:14:51 Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Rapidly ascending scalar motion. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 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. 3:52 . 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. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. 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. 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. 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. 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 . Yet if the cover managed to dupe a few kids into hearing some great music, it seemed at worst a victimless crime and, in the total scheme of things, a forgivable sin against artistic integrity. That is, in fact, the way to describe this work. Every artist ought to pray that he may not be 'a success.'" Jupiter, the Bringer of Jollity. Perhaps as a tentative test of its market appeal, Jupiter was cut on September 15, 1922 but not issued (as a two-sided 78) until March 1923. Heard today both versions startle immediately with their sheer overall speed in comparison to modern recordings which tend to dwell around 50 minutes, the total timing of the first set is 44 and the remake is a mere 42 (largely due to a much more animated Venus). By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player 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. 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. Your email address will not be published. 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." A more distant inspiration came from Holst's fascination with Hindu philosophy and Sanskrit literature. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. Each movement was issued singly and then together in a seven-disc album. 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. "As a rule," he said, "I only study things that suggest music to me. Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet Sheet music for Clarinet other (Woodwind Quartet) | Musescore.com Winter Sale: 65% OFF 03d: 21h: 14m: 39s View offer 00:00 / 01:24 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. 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). That said, he and his orchestra produced quite a credible performance. Add Review. 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. 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. 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. This is a concept we can all relate to and the idea of growing old is seen differently by everybody, therefore when the solemnn procession enters it affects people in different ways as people will see it subjectively. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. In a program note for the 1920 public premiere, Holst himself commented: "These pieces were suggested by the astrological significance of the planets; there is no programme music in them, neither have they any connection with the deities of classical mythology bearing the same names. Yet Foreman notes that Holst's interest in astrology began to fade following The Planets, which perhaps was just as well, as Leo himself was convicted under the British Witchcraft Act shortly before his death in 1917. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. 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. 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. The Planets. Its techniques like these that make this music sound space-age and very modern for its time. 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. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. And since the British composer was distressed at the immediate success of the seven-movement work when it was introduced in 1919 - he never considered it one of his best efforts - its rebirth could only cause him further chagrin. "Jupiter, the Bringer of Jollity," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. Video unavailable From the Album Gustav Holst: The Planets . 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). In the interim between Pluto's ascent and demise it must have seemed tempting to complete the task that Holst, by necessity, had left unfinished, while dissuaded from the heresy of tampering with the magical ending of Neptune. 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 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. 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." By Phil Plait. Add to Cart Add to List. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. Yet Holst considered its message to be not only physical decay but a vision of fulfillment, and indeed in the subdued coda the frustration and angst of inevitable decline melts into acceptance. He 4. 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.". The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. Yet the harmonies are bitter-sweet and the themes are fragmented, suggesting that repose is at best temporary and that far more challenges remain in the human journey. "And then," he concluded, "recently the character of each planet suggested lots to me.". His career as a pianist had crashed at college when he developed neuritis so severe that he reportedly could write music only by tying a pen nib to his forefinger. It has outrun the dimensions of a suite, and become a cycle of tone poems." (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.) 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). 5.0 out of 5 stars 2 ratings. While none attracted much notice or met with any appreciable success, their underlying character would permeate The Planets. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. 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. This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Credits. 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. While each individual movement has unique and fascinating import, the overall structure is significant as well. Paid users learn tabs 60% faster! 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 10pm - 1am, Symphony No.6 in D major (2) . The simple answer is that Pluto was only discovered and named in 1930, long after The Planets took final form. Hutchings, Arthur: "Music in Britain, 1918-1960" article in Martin Cooper, ed., James, Burnett: notes to the Boult/Philharmonic Promenade LP (Nixa LP 903, 1954), Kennedy, Michael: notes to the Boult/BBC reissue LP (HMV Treasury ED 39 0725 (1986), Lyons, James: notes to the Steinberg/Boston LP (DG 2530 102, 1971). Matthews agrees that "Holst's ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.". 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.

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