jupiter, the bringer of jollity analysis

Gustav Holst - Jupiter the Bringer of Jollity Tab. By Phil Plait. This is a concept we can all relate to and the idea of growing old is seen differently by everybody, therefore when the solemnn procession enters it affects people in different ways as people will see it subjectively. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. Louis LP (Turnabout QTV-S 34598, 1974), Holbreich, Harry: notes to the Herrmann/London Philharmonic LP (Decca Phase 4 Stereo PFS 4184, 1970), Holst, Imogen: notes to the Holst/London Symphony reissue LP (HMV Treasury HLM 7014, 1972). What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). 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. 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. The Planets32 7 . 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. Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. The Planets is best known for his orchestral composition. 98 $9.95 $9.45 Unlike Stravinsky, who recorded his seminal ballets only once his style had evolved radically from expressionist firebrand to detached neoclassicist, Holst began committing his Planets to disc a few years after its premiere, with the creative impulse presumably still fresh in his mind. 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. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. 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. Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. That's why I worried at Sanskrit." The theme itself lingers in bitterness, its constant leaps creeping downward in minor seconds to form tritones, and its rhythm nervous, sounding as though it should fit into 6/4 time but with the fourth beat forcibly extracted. Holst's love of English folk song and dance is readily demonstrated here. 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 . Toronto Symphony Orchestra, Peter Oundjian. Burnett James paints Holst as a lonely and tragic figure, assailed with agonizing spiritual blight and a bleak despair that enveloped his whole being (and which ultimately led him to increasingly dissociate his later music from emotion). However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Your Amazon Music account is currently associated with a different marketplace. Neptune, the Mystic Psychics revere Neptune as a primary influence that enables them to develop their skills to see beyond the visible. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. "And then," he concluded, "recently the character of each planet suggested lots to me.". This movement is light and all in jest, in comparison to the last movement, which again plays to its magician characteristic. This makes the score interesting to read as some instruments will be scored in flats, others in sharps, and others with no key at all. That said, he and his orchestra produced quite a credible performance. While I'm not a fan of his desiccation of the Romantics, I do value the effectiveness of his approach to the impressionists and Viennese moderns, which also works here, where the clarity of execution, crisp accents and meticulous control of dynamics create a striking sense of atmosphere in the slow movements, matched by Decca's gloriously crisp and detailed ffrr recording that highlights some unusual sonorities, including the bass oboe in the opening and husky bells in the climax of Saturn. The first half is soft and rather bitter, strewn with a few reminiscences of Holst's movements, and is described by Foreman as "a pianissimo world, a mercurial scurrying of chromatic runs and scales" in which "long-held very soft pedal points, evocative orchestral color, and the shining effect of harp and celesta all add to the almost tangible pictorial effect." "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. 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. The Planets is an absolutely remarkable suite of orchestral music. Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. 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). John Marsh There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. 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. 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). Course Hero uses AI to attempt to automatically extract content from documents to surface to you and others so you can study better, e.g., in search results, to enrich docs, and more. The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . 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'. Saturn, the Bringer of Old Age 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. 2023 Los Angeles Philharmonic Association. For details on how we use cookies, see our. (in Bb) Hn. Just the kind of opening a "bringer of jollity" should have. The opening bars of Saturn are often referred to as a ticking clock. . Underneath this, the double basses play a slow and expansive theme which grows into fruition slightly later in the movement. He was a composer, known for Knowing (2009), The Man Who Fell to Earth (1976) and The Vast of Night (2019). 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. Each movement of the suite is named after a planet of the Solar System and its supposed astrological character.. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. 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. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. 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. 7 images 1 in D minor: A Master of Musical Colour. 4 in E minor Op. The title refers to the Greek and Roman mythology, where jollity was one of the god's characteristics. He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. The Planets, Op. 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. 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. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. 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. March 15, 2011 . Yet the harmonies are bitter-sweet and the themes are fragmented, suggesting that repose is at best temporary and that far more challenges remain in the human journey. 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. 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.". Hablas espaol? That was pretty fun. He didnt submit to the conventional rousing finale (he used Mars at the beginning and Jupiter in the middle) but instead, he used the exact opposite. 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). 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. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. 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. 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. It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. 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. Credits. 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. Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. Although Macmillan was a multi-talented composer, author and teacher who was cherished as Canada's foremost musician, he and the Toronto orchestra he raised to prominence and led for 25 years were barely known abroad and it is unclear why they cut the next Planets and why only the first four movements. I do believe that this movement provides a representation for the prime of life, making it at the centre of musical expression and impressive melodies which create a feel-good wave of sound for the listener. Marketplace. 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)? Recurring 3-note ostinato. In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. 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). Billed annually at $39.99 5. Saturn, the Bringer of Old Age 6. While each individual movement has unique and fascinating import, the overall structure is significant as well. Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. In doing so, he opened an entirely new world for himself." 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. Uranus expresses magical forces, animation and playfulness to the mix. 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. 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. Perhaps as a tentative test of its market appeal, Jupiter was cut on September 15, 1922 but not issued (as a two-sided 78) until March 1923. 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). "We Will Rock You" by Queen is the epiphany of motivational team music. 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. A far more inclusive, if highly opinionated, list is on the Peter's Planets website (no relation). The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . Whether you need to focus, get pumped up, or wind down, the right playlist at the right time has the ability to transform your day from dull to dope. 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. 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. A callous texture is imposed by having the strings play the ostinato col legno (using the wooden back of the bow rather than the hair hardly a favorite technique of artists cherishing their precious instruments), with the harps providing a cavernous edge by playing along in their lowest register. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". Look at the detail: the Great Red Spot . 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. 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 [? 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). Although it has since become a clich to depict outer space, Holst's inspired final touch is two wordless female choruses, each divided in thirds. 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. 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. 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. 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.". 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. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. . Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. 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. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. 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). Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. B Theme. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." Every artist ought to pray that he may not be 'a success.'" Boult's endings of the slow movements sound abruptly perfunctory, lending greater feeling to the extremely gradual fadeout of his Neptune. 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.

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