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This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. 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.". Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 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. 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 . This theme stems into theme four also, with variants being played. (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. 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. From that point onwards, he didnt believe in astrology (apart from the odd horoscope reading) which is ironic considering how much joy this piece had brought to others. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. Holst presents this motive in two transpositions (starting on E and A) in two octaves (E4/A4 and E5/A5). Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. 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. Depending upon one's vantage, Karajan's objective precision either lets the music speak for itself with intrinsic integrity or heartlessly drains it of human communication. Jupiter, the Bringer of Jollity 5. 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. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. Gustav Mahler Symphony No.2: Movement III, Gustav Mahler Symphony No.2: Movement II, Gustav Mahler: Symphony No.2 Genesis & Movement I, Ralph Vaughan Williams English Folk Song Suite: Memorable Melodies, Alexander von Zemlinksy Symphony No. 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." 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). 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). 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. Within the basic tempos Imogen calls his beat "clear and unfussy. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. 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." 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. 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." The Planets, Op. 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). Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. The mood is unmistakably mystical and the hero may indeed imagine himself contemplating the twinkling stars on a still night.. 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. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . Holst specifies: "This bar is to be repeated until the sound is lost in the distance." 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." The third theme is marked pesante which means heavy or peasant like. Holst calls him Jupiter, the Bringer of Jollity -- but that seems a very small attribute to assign to so great a planet. The lolloping tune is quite robust and all of these compositional processes play a part in creating this scherzo-like movement. 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. 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). The Planets: The overview. ", Finally, moving from the sublime to the ridiculous, In the thrall of the social transformations ushered in by Hair and the Age of Aquarius, in 1970 James Lyons foresaw the extra-musical connotations of The Planets as "ramifications for our future that are variously fascinating and frightening." 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? 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. One of the most striking aspects about this movement, for me, is the lack of musical transitions and Holsts quite frequent use of time changes just when you may be feeling comfortable with a theme. 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. 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. 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. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Uranus, the Magician 7. Its techniques like these that make this music sound space-age and very modern for its time. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. 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.). 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. 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). Dvorak's 5th Symphony ("New World,". Indeed his daughter Imogen insists upon their "characteristic authority. By Phil Plait. 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. Add Review. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". It is the fifth planet from the sun and is another gas giant. Karajan's was the only other Planets (aside from Boult and Sargent remakes) to emerge during the entire decade of the 'sixties. Tempos in Mars and Jupiter are significantly slower than with Holst or Coates, imbuing these movements with a deeper sense of drama (albeit at the expense of driven resolve) and in doing so elevates them yet further above the realm of standard program music. Halbrick notes that the form moves from tightly structured to more open-ended. Free online tab player. Gustav Holst - Jupiter the Bringer of Jollity Tab. 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. . Add to Collection Add to Wantlist. While such a resource was not entirely novel (Debussy had already used wordless sopranos and altos to conclude his 1901 Sirnes), Holst's haunting indefinite ending was quite innovative. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). 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." 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). From the Album Gustav Holst: The Planets . But perhaps the most remarkable movement is Venus, in which Sargent adds another full minute to others' already sprawling pace to craft a feeling beyond mere wistful dreams to a lush romanticism that one would not have suspected to find within the composer's emotional arsenal. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. 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. 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. 3:52 . 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 Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. Jupiter, the Bringer of Jollity. Theme five is an amalgamation of the pesante theme with the fanfare theme, which gradually gets a little faster before we arrive at theme six. The sixth movement of the suite is dedicated to the planet Uranus The Magician. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. Such associations aside, in purely musical terms the movement begins in a soft piano menace, builds to a terrifying triple forte (fff) climax as instruments pile on, is halted by a massive discord followed by a slower 5/2 section still "haunted by the martial rhythm" after which the opening "returns with increased, almost hysterical, ferocity, ending with grinding chords" (Kennedy) as strings, brass and tympani dissonantly pound out the initial figure quadruple forte (ffff) as its rhythm finally disintegrates. 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. Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: 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). This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 Release [r26171738] Copy Release Code. 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. 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. 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. Your Amazon Music account is currently associated with a different marketplace. 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. Subscribe to Plus. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). 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. Holst also very cleverly uses a cross-rhythmic hemiola (a hemiola is where 2 different time signatures at once, so at one point he has part of the orchestra in 4/4 and the rest in 6/4). 32, was written between 1914 and 1916. 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. 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. 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. 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. All Rights Reserved. The Sciences Jupiter, the Bringer of Jollity Bad Astronomy By Phil Plait Dec 24, 2010 10:00 AM Newsletter Sign up for our email newsletter for the latest science news The line between amateur and professional astronomer has always been thin. "And then," he concluded, "recently the character of each planet suggested lots to me.". Gustav Holst was an English composer, who wrote The Plants Op. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. This particular melody is quick, syncopated, and full of energy. Even allowing her some degree of exaggeration, the technology surely did present daunting challenges the size of the orchestra had to be drastically reduced, instruments were hard to distinguish when shorn of their highest overtones, string basses couldn't register at all, and dynamics had to be compressed to dwell between a floor of surface noise and a ceiling of distortion. In any event, for a work glorified for its magnificent orchestration it's hard to imagine a more suitable match than the conductor who, more than any other of his generation, reveled in instrumental color and was deeply involved in the recording process and the sheer sound of his records. 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. Every elementary school student of my age knew as an undisputable fact that Pluto was the ninth planet in our solar system. This is the only movement of the whole suite not to use themes or any real melody, only fragments of musical cells that you can loosely call melodies. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. Jupiter, The Bringer of Jollity Instrumentation The instruments used in this piece is: four flutes three oboes one English horn three clarinets one bass clarinet three bassoons one contrabassoon six horns four trumpets two trombones one bass trombone one tenor tuba one bass tuba Imogen emphasized that "clarity was his watchword," that "he never could understand slovenly workmanship" and "though his music dwells in mystical regions yet it is never indefinite or shadowy." 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. Credits. Saying this though he was said to have a soft spot for his favourite movement, Saturn. 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. Edit Release New Submission. Otherwise, Boult's first outing has few unusual features. Hablas espaol? 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.). Perhaps Holst, who was devoted to searching for novel qualities among familiar instruments, would have been enthralled to hear textures beyond the reach of even his fertile imagination, limited as it was by the analog resources of his time. In a sure sign of sudden popularity, while Columbia seemingly dawdled to complete its sessions for the composer's set of electrical 78s, rival HMV prepared its own competing version, and with a fair degree of authenticity, as Coates had led the first (or, according to some sources, the second) full public performance. For the final movement Holst returns to the 5/4 time signature (which he specifies as 3 beats followed by 2, the same way the Mars rhythm is felt) that launched his Planets, but now, having probed the nobler aspects of the human condition, the militant hammering of Mars has fully ceded to a silken rustle. 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. (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 makes the piece incredibly enchanting, enthralling and completely other-worldly. Despite their varying tempos that defy the general trend of conductors adopting more autumnal outlooks as they age, Boult's Planets do generally tend to be progressively smoother, and, of course, the recording quality itself becomes more subtly detailed as the technology develops (although even the 1945 BBC rendition already exhibits a fine tonal blend and balance).