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. Such guidance is especially important, as Holst did not provide metronome markings; rather, he labeled his movements with the traditional vague Italian terms (Allegro for Mars, Adagio for the opening of Venus, etc.). The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. 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. 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. No items for sale for this Release. 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. To enjoy Prime Music, go to Your Music Library and transfer your . The Planets, Op. 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. The work sounds just as it did when Holst used to conduct it before a Queen's Hall audience," even though she allows that by having to record each side straight through "there may be details which Holst would have liked to improve, but the performance as a whole is a magnificent achievement.". The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Sargent sees it as confounding logic, working miracles divorced from reality. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. 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). JUPITER, the bringer of jollity. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. For details on how we use cookies, see our. Add to Cart Add to List. While critics at the time seemed divided along a predictable generational divide, one enthused that: "Holst might have really dug it." Saturn, the Bringer of Old Age 6. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". - Orrin Howard 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." That was pretty fun. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. 4. Your Amazon Music account is currently associated with a different marketplace. Jupiter the Bringer of Jollity Tab by Gustav Holst. $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. 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. 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. 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. - No. Halbrick notes that the form moves from tightly structured to more open-ended. Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. 4 in E minor Op. 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. Holst's love of English folk song and dance is readily demonstrated here. This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 (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.) There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. 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. 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. Free online tab player. The Planets, Op. 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. Using the new technology, Holst and the London Symphony rerecorded The Planets (plus Mercury's companion "Marching Song") between June and November 1926 (and, interestingly, he reverted to the faster tempo of the first acoustical Saturn). 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). 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. 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. In particular, he cautioned with respect to Mars: "I well remember the composer's insistence on the stupidity of war as well as all its other horrors, and I feel that the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal and stupid power." Boult contends that "if it is possible for a piece of music never to finish, this is what happens here" and that the prolonged diminuendo following "this tuneless, expressionless, shapeless succession of cloudy harmonies, suggesting as it does an infinite vision of timeless eternity" makes us wonder if we still hear the chorus "or only hold them in our memory, swinging backward and forward for all time." March 15, 2011 . 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1917.In the last movement the orchestra is joined by a wordless female chorus. Concurrent with Boult's first remake, Decca issued a competing LP that, coming at the very end of the mono era, was soon superseded by a stereo version (albeit with a different orchestra), much as Holst's acoustical set had been promptly replaced by its electrical remake. 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. Your email address will not be published. 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'. While each individual movement has unique and fascinating import, the overall structure is significant as well. 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. You might also enjoyEdvard Grieg:Peer Gynt Suite, Your email address will not be published. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. 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. At first he wanted to set to music a group of hymns from the Rig Veda, the oldest Hindu text, but "finding the English translations he discovered were hopelessly stilted, Holst decided to learn Sanskrit so that he could translate the words to his own satisfaction. The strings play col legno which means that the players play with the wood of their bow, not the hair. In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. 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). One accurate version. So what makes the twinkling sound within this movement? The last melodic cell is built up throughout different instruments (its repeated 12 times to be precise!) The melody slows down for just a second at 0:54, and then suddenly at 0:57, we're thrust into the second theme of the piece (Holst likes to keep us on our toes). and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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)? Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. 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 most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. As the result of this reticence, Crankshaw asserts that the mighty force of Holst's augmented orchestra "is used with such discrimination that the overall impression is not of Straussian sumptuousness but of many-stranded colour-schemes which coalesce only occasionally into full emblazonment." 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'. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. It begins with a portentious brass fanfare that quickly evolves into a jaunty but somewhat erratic pair of tunes that careen through the orchestra in constantly-changing patterns of sound that seem to involve every instrument from tympani to piccolo in wildly inventive combinations, as though conjured by a shambling yet potent sorcerer, as if to suggest that, once untethered from reality, all becomes possible. That said, he and his orchestra produced quite a credible performance. 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 movement's heart harbours a grandiloquent tune, intended to portray Jupiter taking his ease (apparently, Holst was not thrilled to see this hijacked for a patriotic hymn), and recalled briefly during the resplendent coda. 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, the balance favors the strings to the detriment of the other choirs, such that the rapid accompanying violin figurations swamp the majestic brass introduction of the rousing Jupiter melody, and the tympani are barely heard at all. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. 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. Perhaps that occasion prompted this recording, which appears to be his only one with the Los Angeles Philharmonic throughout his extraordinarily prolific career. The Planets - Jupiter, the Bringer of Jollity By: Gustav Holst. Uranus expresses magical forces, animation and playfulness to the mix. 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). Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. Even as enhanced to bring out detail for its digital transfer, the recording is a bit crude and dynamic compression raises the noise floor to cloak the fragile interplay of harps and celesta in Neptune, a sorely missed effect, as Stokowski bloats the final movement to nearly ten minutes (compared to a "normal" seven or so) and thus trades its inherent gentle momentum for a far different but equally apt sense of timeless suspension. Sargent's reading is remarkably potent, from a downright spooky opening as Mars seethes toward a giant climax, to alarmingly loud bells that shake off any sense of torpor in Saturn, and earth-shaking organ pedal points and huge tympani that magnify the drama of Uranus. Difficulty : E approx. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns.
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