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Saturn, the Bringer of Old Age This heavier section is like its trying to communicate with everyone possible, not just the top or bottom of social scales, but everybody in-between too. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". Jupiter Gustav Holst's Planets don't exactly line up like the real ones he skips Earth and Pluto, which wouldn't be discovered until a dozen years after The Planets premiered. 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). Thus his Mars exudes a snarling menace and gallops ahead as though chased by fear, his Mercury sweeps aside any sense of polished grace as it boils over with irrepressible energy, the instruments in Jupiter fairly explode in joy as they jostle for attention, and Uranus becomes a heart-pounding march that heightens the repose of its final minute. 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. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. 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). and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. That was pretty fun. 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. 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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. You might also enjoyEdvard Grieg:Peer Gynt Suite, Your email address will not be published. JUPITER, the bringer of jollity. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. Born September 21, 1874 Died May 25, 1934 (59) Add or change photo on IMDbPro Add to list Known for Knowing 6.2 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. 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.). It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. 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. 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). (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.) This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. Subscribe to Plus. This theme stems into theme four also, with variants being played. 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. 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. 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. That is, in fact, the way to describe this work. 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'. 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. 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. 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 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. Jupiter, the Bringer of Jollity - Gustav Holst (Advanced Solo Piano) Sheet music for Piano (Solo) | Musescore.com Winter Sale: 65% OFF 04d: 09h: 05m: 39s View offer 00:00 / 06:41 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. The first full public performance had to await October 10, 1920. 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. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. That, in turn, suggests that the very notion of authenticity cannot be reduced to a single set of parameters and that great music can only be enriched by a range of personal interpretation. Sargent salutes the essential clarity of Holst's scoring (derived in part from his admiration for Ravel), and notes that after a score had been written Holst routinely would go through it with an eraser to expunge inessential notes and even entire instrumental lines. Matthews hears a range of aspects of Holst's (and, perhaps more generally, human) personality, from the quicksilver elusiveness of Mercury and extroversion of Jupiter to the relaxed lyricism of Venus and remote mystery of Neptune. 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. Dec 24, 2010 7:00 AM. jupiter, the bringer of jollity analysis. Mars is the first movement of the suite, and it is known for its power and strength. Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. Ive worked out that the first section is in E minor, but after that point is goes between C minor, E major and Db minor. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. 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. The Planets is best known for his orchestral composition. This stunning movement, similarly to Mars, uses 5/4 time signature, although the groupings are different from that in Mars, with this movement being grouped 3-2 as opposed to either 2-3 or 5. ", 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." 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. Yet while largely akin to the composer's own recordings in their dearth of personal interpretive quirks, their basic tempos diverge significantly. A more remote but intriguing interpretation evokes the tower in tarot, consistent with the Biblical Tower of Babel, representing the need to destroy the old in order to wrest freedom from the resulting chaos. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. That is just about the finest imagery of Jupiter from the ground I have ever seen! Greene suggests that Holst, born under the sign of Virgo, was ruled by Mercury, and indeed credits his curiosity and intellect to the mental attributes of that planet (even though his approach to composition was methodical rather than spontaneous). 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. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. 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. 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. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. 7 images Halbrick notes that the form moves from tightly structured to more open-ended. Freed similarly credits Holst with innovation beyond the scoring of his predecessors: "His vast forces are deployed with the utmost imaginative flair to achieve the most delicate and subtle effects and always with the feeling of great wells of strength in reserve." Burnett James adds that while traditional astrology attempts to predict individual destiny from one's time and place of birth, Holst was more intrigued by the associative emotional connotations of each planet and in particular the psychological attributes that Leo ascribed to each planet (although Leo later would come to consider the sun to be dominant). This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. While each individual movement has unique and fascinating import, the overall structure is significant as well. (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.)