The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. Boult's endings of the slow movements sound abruptly perfunctory, lending greater feeling to the extremely gradual fadeout of his Neptune. Visita nuestra pgina web en espaol. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Sell a . 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. John Marsh The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . The Planets is an absolutely remarkable suite of orchestral music. VIDEO COMMENT Holst's "Jupiter" +9 - As long as it's played well it sounds amazing on anything: : Gustav Holst - A Fugal Overture (1922) +3 - Holst didn't write a movement for Earth, but the Fugal Overture would be an interesting insertion . 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). Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. 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." Holst's love of English folk song and dance is readily demonstrated here. 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). 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)? 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. Thus Greene contends that the slow tempo reflects the pace of the aged, the oscillating chords hold tonal progression in abeyance as a symbol of timelessness, the gradual accumulation of tonality suggests steady progress, and the final tune sounds cold and arid, to which might be added that the constant syncopation tempers inevitability with unease. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in a broad sense." 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. 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. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. The album of four 78s was issued in automatic sequence (with a 1937 Boult/BBC Symphony Elgar "Imperial March" as the eighth side following the second half of Jupiter, rather than backing Mercury) and thus, unlike with the individual discs of the Holst and Coates sets, effectively prescribed that the movements were to be heard in order, wrapping up with the triumphant conclusion of Jupiter, even though Imogen reports that Holst particularly disliked such a false "happy ending.". 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. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. In 1944, drawing players from the Los Angeles Philharmonic, he had created an orchestra for the Hollywood Bowl and recorded a few short pieces with them at the time, but after that he returned only once to conclude their 1955 season. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). 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. 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. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. 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 Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. Marketplace. From the Album Gustav Holst: The Planets . As several commentators have pointed out, while some of the mythological references seem appropriate (Mars, Holst's "Bringer of War," indeed was the Roman god of war), others seem obscure (Neptune, Holst's "Mystic," was merely the sea god). David Trippett observes that The Planets's popularity soared as conductors vied with each other to present local premieres; one such dispute was settled when orchestras in Chicago and New York agreed to introduce The Planets to North America on the same night. 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). 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. 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). Holst first recorded The Planets with the London Symphony in the acoustic process, in which sound was gathered in a horn directly coupled to the cutting stylus. The music is relatively simple, but the way that Holst manipulates, orchestrates and colours the themes make this movement incredibly exciting. Its an amalgamation of the harps, glockenspiel and celeste playing oscillating chords throughout the movement, which give it the hypnotic and mystical sound. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. He died on 25 May 1934 in Ealing, Middlesex, London, England, UK. Add to Collection Add to Wantlist. 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. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: (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.) Saturn is variously described as Holst at his most poignant, unfolding the decay and senility of old age against a constant reminder of unremitting time and awaiting destiny (Sargent), depicting the futility of rebellion against the inexorable onset of age and its varied portents (Freed) and an altogether extraordinary piece of musical realism (James). 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. 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. 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.). Matthews agrees that "Holst's ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.". THE RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . 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." 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). For details on how we use cookies, see our. The Planets Op.32 : VII Neptune, the Mystic. 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. 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. That was pretty fun. Any meaningful consideration of Planets recordings begins here. 4. The theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. 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). 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). In theory the pipe organ can overcome much of this problem with its panoply of distinctive voices, awesome power and ability to preserve a sustained mood (especially in the atmospheric Neptune), but a version by Peter Sykes (on a 1996 Raven CD) all too often comes across as a homogeneous sonic blur compared to the original. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". Its techniques like these that make this music sound space-age and very modern for its time. 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. Holst said this about Venus The whole of this movement is pervaded by the serenity of a wold which nothing seems able to disturb. 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. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. 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. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. 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. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. He has come down from Olympus to flirt with beauties in the mortal . 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. Add Review. 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. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. 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. March 15, 2011 . Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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. Buy song $0.99. By bringing together all the movements with this delicately thought-out movement, I feel that it ends in the best way possible wanting to know more. 5. Jupiter, The Bringer of Jolity from The Planets Gustav Holst Arranged by Sandra Dackow Grade: 4 This full-length arrangement of Jupiter is also on a massive scale, uncut and making every attempt to include all of the elements, if not instrumental colors, of the original. 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. Uranus, the Magician Reflecting the astrological realm of eccentricity and the occult, Holst's Uranus has been compared to Dukas's 1897 Sorcerer's Apprentice in terms of their structure, orchestration, rhythm and overall aura of comic bumbling within a serious setting, even though Boult insists that Holst had never heard it. 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? 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. 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. jupiter, the bringer of jollity analysis. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . Jupiter, in particular, careens amid super-charged tempos that the orchestra delivers with electrifying accuracy (but after all, it was used to Toscanini) and Uranus thrills as instruments jostle for attention. 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. The second movement, Venus, provides us with an incredible contrast to the previous movement. 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. Several commentators trace specific movements of The Planets to emulations of the atmosphere and orchestration in sections of Schoenberg's Pieces. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. 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). Saturn, the Bringer of Old Age 6. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. 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. 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. 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). He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). 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. Even so, Henry Balfour Gardiner, a wealthy concert promoter who advocated British works, arranged for a private performance on September 29, 1918 with the Queen's Hall Orchestra to be led by Adrian Boult as a gift prior to Holst's departure for Salonika to arrange musical entertainment for troops. 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. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. He was previously married to Isobel Harrison. Indeed his daughter Imogen insists upon their "characteristic authority. 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. This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. 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." Dec 24, 2010 7:00 AM. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. This reception is rather interesting as Holst himself never deemed the work to hold much worth, nor did he think its popularity was quite justified. Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. 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'. Uranus expresses magical forces, animation and playfulness to the mix. 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. Billed annually at $39.99 View Official Scores licensed from 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. 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. Thus the world was hardly prepared for the innovative and eclectic Planets, which seemingly arose from a near-void and, much to the composer's frustration, despite his variegated output came to define him as a "one-hit wonder.". Video unavailable No items for sale for this Release. Jupiter, the Bringer of Jollity As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. (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.) The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. 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). Imogen confirms that Holst followed this directive in his own performances. 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. Yet if the cover managed to dupe a few kids into hearing some great music, it seemed at worst a victimless crime and, in the total scheme of things, a forgivable sin against artistic integrity. This site uses cookies to offer you the best possible experience. The Planets Op.32 : VI Uranus, the Magician. 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 the fastest rotation of all the planets). Just the kind of opening a "bringer of jollity" should have. See the full gallery: A beginners guide to Gustav Holsts The Planets Suite, : A beginners guide to Gustav Holsts The Planets Suite, Download 'Symphony No.6 in D major (2)' on iTunes, A beginners guide to Gustav Holsts The Planets Suite. Jupiter--Bringer Of Jollity By Gustav Holst (1874-1934) - Score and Part(s) Sheet Music for Orchestra - Buy print music AP.12202 | Sheet Music Plus. At least to my ears, the result here is more desecration than decoration of Holst's concept. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. 32. He Each of the seven movements depicts the astrological qualities of a planet in the solar system. 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. Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. Jupiter is named after the Roman king of the gods. 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. Yet his tempos are not rigid but imbued with subtle elasticity to gently underline transitions and mood shifts. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. 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." The colouring of sounds seems to be right at the heart of Holsts orchestration as he has the horns and flutes colour the harp chords at points, and the solo violin is coloured and blended with the lower strings to create a rich sound. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. In program notes he asserted that the only way to carry on was to avoid any break by beginning his new movement before Neptune fully fades (and so he modifies the original ending with a sustained violin harmonic that segues into his opening). Release date from LSO Discography . Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". It could perhaps represent church bells at a funeral (as tubular bells are used extensively here), or perhaps its alarm bells that death is approaching. A more distant inspiration came from Holst's fascination with Hindu philosophy and Sanskrit literature. But then a sudden explosion ushers in intense activity that, according to Matthew, uses solar winds as a starting point. 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. Venus, the Bringer of Peace To Leo, Venus represents affection, devotion, an even disposition, a refined nature and a keen appreciation of art and beauty, in contrast to Holst's subtitle which suggests simplification to a single attribute. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. 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.