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

I generally disparage those who routinely dismiss acoustical recordings as primitive and unworthy of attention (and thus ignore a crucial slice of our cultural heritage), but in this instance the electrical remake, coming soon after and fundamentally similar in approach, strikes me as superior, not only in terms of sonic fidelity and overcoming most of the compromises required by the tyranny of the earlier mechanism but in the quality of the execution and Holst's more assured leadership (even though, while lacking the skills and experience of a trained conductor, by 1922 he had led The Planets in public many times). 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." 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. 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. This site uses cookies to offer you the best possible experience. 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. Its first public performance took place in 1920, and it was an instant success. The main and hymn-like themes of Jupiter Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. 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. 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. 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. [O]nce these relations are established in the titles of the movements, it is easy to fall into the mood of the respective tone poems. Greene adds that Holst regarded planetary influence as a metaphor for various aspects of human personality and through each movement of The Planets sought to portray psychological drama within aspects of human character. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". The sixth movement of the suite is dedicated to the planet Uranus The Magician. 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. Matthew, Colin: "Holst" article in Stanley Sadie and John Tyrrell, eds., Matthews, Colin: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Mullenger, Len: "HOLST Suite: The Planets" article on the, Reid, James: An Astronomers Guide to Holsts, Sargent, Malcolm: notes to his BBC LP (Capitol SG 7196, 1958), Schoenberg, Arnold [quoted in a Los Angeles Philharmonic, Trippett, David: "A Biography of Gustav Holst, Part 3: 1915-1928" article on the, Tuttle, Raymond: review of Judd/Royal Philharmonic Denon CD in, Ward, Benjamin [? RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. 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. 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. Lee admits some logic to certain selections, analogizing the progression of Mars, Venus, Mercury and Jupiter to a conventional four-movement symphony. 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. $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. Silencing the organ, percussion, trumpets, trombones and tuba, Holst 's texture "concentrates on delicate and lucid tone colors" of woodwinds, harps, celesta and solo violin (Halbreich), creating "an essay in benignity" in which "our feet have been placed in some posture of security" (Crankshaw), "bringing to the suffering world a vision of heavenly peace" as Venus "sails softly across the evening sky, bringing with her a still, starlit repose" (James) and "the skies are soothed by a gentle benediction" (Freed). Holst's love of English folk song and dance is readily demonstrated here. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . 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." 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. Even so, purists will quail at Stokowski's tampering with the score he adds a mammoth gong to underline the final Mars chord (and a softer one during the Neptune female chorus), and concludes Neptune with a full, if quiet, cadence rather than trailing off into the infinite. Jupiter, the Bringer of Jollity. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". 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. 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. 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.". The opening bars of Saturn are often referred to as a ticking clock. 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. One accurate version. 2023 Los Angeles Philharmonic Association. Macmillan is barely mentioned in the standard reference books and seems to have made very few recordings (and of those most were as an accompanist, including spirited Bach and Beethoven concertos with compatriot Glenn Gould), and so we have little basis to generalize his style. Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. March 15, 2011 . 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. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. Indeed, Holst's orchestration is often cited as a prime glory of The Planets. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. - No. The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . Dec 24, 2010 7:00 AM. 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. "As a rule," he said, "I only study things that suggest music to me. Sargent sees it as confounding logic, working miracles divorced from reality. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. 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. Orchestra Sheet Music. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. Buy song $0.99. 32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. 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. 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. 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. Yet Karajan's approach sets a standard for the continuing modern trend of turning away from the sort of interpretive license that had been expected in the past but which has come to be considered crude by current orchestral (as opposed to solo) performance standards. 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 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). 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. 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. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. Recurring 3-note ostinato. 5. Brass Monkey - Beastie Boys. 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). 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. Holst's musico-spatial explorations may not be cosmic, but they are brilliant, dramatic, and picturesque enough to fit into almost anyone's concert hall horoscope. JUPITER, the bringer of jollity. Despite their simultaneous appearance at the dawn of the era of electrical recording (which would seem to suggest a hearty public appetite for more), the Holst and Coates sets appear to have sufficed to sate demand for 16 years. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. By Phil Plait. Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. 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. Video unavailable To contrast the previous, quite solemn feel to the movement, there is an outburst within the orchestra, which could mean a plethora of different things. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. 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 This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. Opening with a flute rendition of Holst's Jupiter, the Bringer of Jollity from The Planets, Cerberus's "IV.THE THUNDER" in both Japanese and English combines beautiful and emotional lyrics reflecting her love for Fenrir with an equally amazing orchestra. 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. 32, was written between 1914 and 1916. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. 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." In retrospect that's just as well in 2006, along with over 100 other celestial objects in the same region (the Kuiper Belt), Pluto was reclassified as a mere dwarf planet (for failure to meet a criterion of the definition of a planet that its gravity dominates its neighborhood to capture as moons or clear away all other nearby objects). The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. After the relative handful of recordings during the first half-century of its existence, and nearly a decade after Karajan became the last outsider to break the British hegemony of artists, the marketing floodgates opened in the early 1970s with a sudden abundance of a half-dozen new Planets LPs, to be joined since then by dozens more. Edit Release New Submission. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. 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. 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. Uranus, the Magician 7. - 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 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 Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. Holst's daughter Imogen recalled that while Holst did cast horoscopes for friends, he was less interested in fortune-telling than in understanding human behavior. A related facet is the extent to which each movement relates to its titular god. Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. 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). 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. 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. 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. 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. So, as the title suggests, I finally decided to take a deep dive into classical music this month. He Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. On the 18th I had one of the worst emotional meltdowns of my entire life. Difficulty : E approx. Jupiter (Bringer of Jollity) pour orchestre symphonique. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Along with this rhythmic ambiguity, there is no set key to the piece, you can make a guess of where the tonality may be, but it is quite tricky. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. Billed annually at $39.99 View Official Scores licensed from 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. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. A6. Imogen confirms that Holst followed this directive in his own performances. It is the fifth planet from the sun and is another gas giant. He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. From the Album Gustav Holst: The Planets . . 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).