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

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. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. That's why I worried at Sanskrit." 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. Any meaningful consideration of Planets recordings begins here. 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. - 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 1 in D minor: A Master of Musical Colour. 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)? Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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? While taking full responsibility for the musical judgments, I've done no independent research and gratefully acknowledge the following sources for the facts and quotations in this article: Boult, Sir Adrian: notes to his New Philharmonia LP (Angel S 36420, 1967), Crankshaw, Geoffrey: notes to the Marriner/Concertgebouw LP (Philips 950042, 1978), Foreman, Lewis: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Freed, Richard: notes to the Susskind/St. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. Although Macmillan was a multi-talented composer, author and teacher who was cherished as Canada's foremost musician, he and the Toronto orchestra he raised to prominence and led for 25 years were barely known abroad and it is unclear why they cut the next Planets and why only the first four movements. 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. "As a rule," he said, "I only study things that suggest music to me. A second scherzo of sorts, its tone harks back to the fourth movement of the Schoenberg Suite. Orchestra Sheet Music. Recurring 3-note ostinato. 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. 32. 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. 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.). Indeed, Holst instructs: "The orchestra is to play sempre pp throughout" [somewhat redundantly sempre means "throughout"] and added "dead tone" to his personal score; as a result "it never rises above a whisper to transport us to the quiet ecstasy of the Contemplative" (Sargent). 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. Every artist ought to pray that he may not be 'a success.'" 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. All Rights Reserved. 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. (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.) As Schoenberg put it in his own anarchistic program note: "The music seeks to express all that swells in us subconsciously like a dream; which is a great fluctuant power, and is built upon none of the lines that are familiar to us; which has a rhythm, as blood has a pulsating rhythm, as all life in us has its rhythm; which has a tonality, but only as the sea or the storm has its tonality; which has harmonies, though we cannot grasp or analyze them nor can we trace its themes." Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. 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. 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. March 15, 2011 . Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. Related Items. A6. 4 in E minor Op. 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. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 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). 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. The shortest movement at nearly four minutes, about half the length of the others, and with the fastest tempo (vivace), it flits between distant keys (B-flat and E) and duple and triple meters as its motif (barely a theme Foreman calls it "a fragment from some half-remembered folk tune") careens among various instruments in delightfully transparent scoring. 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. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. 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. From the Album Gustav Holst: The Planets . Whether you need to focus, get pumped up, or wind down, the right playlist at the right time has the ability to transform your day from dull to dope. 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. 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. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. 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." They play a fifth interval, then drop a semitone, which is repeated throughout this section. To add to this, the whole movement is ambiguous in terms of tonality, with a lot of it being modal as there seems to be a void where typical harmonic progressions would be found; this includes parts of this hymn theme section. (Ian Lane) As with English madrigals and folk songs, Holst was fascinated by the use in Eastern music of non-Western scales, spare textures and unconventional time signatures of 5, 7 and even 21 beats (which he declared were more suitable for setting English words) and incorporated those features into two operas and dozens of settings of Indian religious texts. 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.). Even so, she did express two reservations: that the end of Neptune is too abrupt (with only a single repetition of the closing bar) and that the final staccato chord in Mercury is much too loud, which she attributed to using too large a gesture in order to avoid a ragged attack, which would have required scrapping the whole side. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). 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. Paid users learn tabs 60% faster! Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. 5.0 out of 5 stars 2 ratings. 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. Within the basic tempos Imogen calls his beat "clear and unfussy. 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. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. 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. . It is a magnificent piece that is sure to bring jollity to your classroom!Your students will:learn about Gustav Holst and his suite.see stunning images of the planets and learn interesting facts abou 2 Products The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. 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). "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. 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). Brass Monkey - Beastie Boys. We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. The opening bars of Saturn are often referred to as a ticking clock. 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. 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." 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 . While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. The suite was written between 1914 and 1916, with it still, even after 100 years, being one of the most recorded and well-loved orchestral works (especially within Holst repertoire). What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). 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. The simple answer is that Pluto was only discovered and named in 1930, long after The Planets took final form. 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. Difficulty : E approx. Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. 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. 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. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. 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." Saturn, the Bringer of Old Age 6. 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. 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." 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). $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. One accurate version. 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. 7. 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. 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. 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. What about Pluto? None of his further works caught much attention from colleagues or the public; although often austere and still heavily weighted toward vocal pieces, they included operas, fugal and double concertos, a choral symphony, orchestral, chamber and piano works and even a self-descriptive 1932 "Jazz Band Piece.". Soon to enter are the horns, lower strings and both sets of timpani with a syncopated theme which builds into the fabric of this first theme (of a mighty six for this movement!). Just the kind of opening a "bringer of jollity" should have. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. 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. 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. 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. 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. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. 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. Each of the seven movements depicts the astrological qualities of a planet in the solar system. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Holst's love of English folk song and dance is readily demonstrated here. C Theme. 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. Add to Cart Add to List. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. 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. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. The most unconventional part of this movement, however, is Holsts use of a female choir in the latter half of the movement. You may be wondering why this movement always feels a little on edge, well it may be due to the time signature that this movement is in. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. 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 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. Holst's students hurriedly copied the parts and only two hours of rehearsal were available. 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). The theme itself lingers in bitterness, its constant leaps creeping downward in minor seconds to form tritones, and its rhythm nervous, sounding as though it should fit into 6/4 time but with the fourth beat forcibly extracted. 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. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. That is just about the finest imagery of Jupiter from the ground I have ever seen! Foreman posits that the progression parallels the ages of man, from youth to old age. JUPITER, the bringer of jollity. That said, he and his orchestra produced quite a credible performance. 32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. 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). 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. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. This makes the piece incredibly enchanting, enthralling and completely other-worldly. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. 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. Foreman notes that Holst's experience as a trombonist gave him a practical understanding of the orchestra from the inside that came to characterize the flair and brilliance of his instrumentation, of which several critics hail in particular the uncommonly radiant brass writing; Lee notes in particular the novelty of including the unusual timbres of the alto flute, bass oboe and tenor tuba. 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." Indeed, excerpting the full work became prevalent. The Planets32 7 . The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. 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. Rather, it projects a sense of jagged complication, driven forward by a beat of eighth notes yet stumbled by another beat of triplets, a rhythm that is challenging to follow and that defeats with faltering indecision any notion of regularity or feeling of stability. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. Billed annually at $39.99 Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. The Planets, Op. Lyrics, Song Meanings, Videos, Full Albums & Bios: Space Age, London Underground, Yes, I Did It (Christian Hornbostel Remix), Redox, Resonatory Aspects, Straight - Phonista Remix, Metaphysic, Yes I Did It (Christian Hornbostel Remix), Velocity (Dan Rubell Rapidly ascending scalar motion. 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. Release date from LSO Discography . That said, all of Boult's Planets recordings are splendid except for the 1960 LP with the Vienna State Opera Orchestra which is crudely played with weak ensemble. Jupiter (Bringer of Jollity) pour orchestre symphonique. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. THE RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . Jupiter: The Bringer of Jollity: this movement embodies the joy of living. This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. I truly doubt that! He didnt submit to the conventional rousing finale (he used Mars at the beginning and Jupiter in the middle) but instead, he used the exact opposite. 32, was written between 1914 and 1916. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. 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.