Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. 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). 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). I'm sure there are other good ones, but (unless you're a total hi-fi freak) do bear in mind Raymond Tuttle's admonition: "One senses that record companies are moved to record it again and again not because they feel that their artists have anything important to say about it, but because they want to show off the very latest development in recording technology. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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. 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. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. Gustav Holst - Jupiter the Bringer of Jollity Tab. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. Sell a . (When he became interested in Hindu literature through translations, he proceeded to learn the original Sanskrit and wrote several Hindu-inspired works including two operas, Sita and Savitri.) Saturn, the Bringer of Old Age Marketplace. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. 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). Saturn, the Bringer of Old Age 6. Jupiter, the Bringer of Jollity. It seems the inspiration for this movement is taken from Roman mythology, with the Roman God, Mercury wearing wings on his shoes so he can move around quickly and get messages to people in good time. 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 . 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." Jupiter, The Bringer Of Jollity In Roman mythology, Jupiter was the god of the sky and thunder. Uranus expresses magical forces, animation and playfulness to the mix. The first full public performance had to await October 10, 1920. Balances, too, are notable, with the brass in particular striding atop the strings that often dominate early electrical recordings; Imogen notes as cogent details "the bells in Saturn, the xylophone in Uranus and the distant celesta in Neptune" which indeed are audible but not intrusive. This is heightened by the harp and celeste parts, which push arpeggios and oscillating chords throughout. To keep our ears interested, Holst dashes quickly between tonalities, and never quite settles down into one key. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. The Planets is a seven-movement orchestral suits composed by English composer, Gustav Holst (1874-1934). 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. A6. Indeed, excerpting the full work became prevalent. The main and hymn-like themes of Jupiter Add to Cart Add to List. 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. 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. His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). 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. Holst specifies: "This bar is to be repeated until the sound is lost in the distance." Equally anomalous, in lieu of the general tempo slowdown common with conductors over the course of long careers, Boult's five studio Planets follow no pattern; thus, for example, his Saturn swings from 8:15 in 1945, to 8:53 in 1954, to 8:24 in 1960, to 9:09 in 1967, to 8:23 in 1978. Others, though, question the semblance of The Planets to prior tone poems, as they note that it is far longer than such typical single-movement works or even Debussy's La Mer or Nocturnes (Matthews), nor a collection of short pieces (like Mussorgsky's Pictures at an Exhibition or Elgar's Enigma Variations) (Matthews), and a far less literal depiction than the tone poems of Strauss or Delius (Lee). "Jupiter, the Bringer of Jollity," is the most thoroughly English section of the work, with Jupiter's high spirits projected through a broad, infectiously energetic melody. Egdon Heath Op.47 : I Adagio - Poco Allegro - Andante maestoso. $34.99 Merry-go-round Of Life $24.99 Advanced Orchestral Studies $50.00 Symphony No. While critics at the time seemed divided along a predictable generational divide, one enthused that: "Holst might have really dug it." As compiled by Greene, once the entire work was heard, many critics condemned reductions to mere excerpts and were generally ecstatic in praising the immediacy, eloquence, clarity of expression, originality and importance of the entire work (although he further attributes the devotion of English critics to a reflection of national pride, whereas others' views were more tempered, with some dwelling on its derivative nature and one dismissing it as "an anthology of musical platitudes. 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 astrologers say that Jupiter brings power, wealth, high position, fatherhood, ownership everything big. 7. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. (in Bb) Hn. 3:52 . 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. Sargent sees it as confounding logic, working miracles divorced from reality. 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. Most tempos are inflated the unhurried Venus and Saturn are considerably slower while the fleet Mercury and Jupiter are faster. Critical response was divided, some considering The Planets superficial and noisy while others found it vital and imaginative. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". 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.). Holst is very economic in the way he uses instruments within this movement, and by not utilising all the players he had at his disposal creates an incredibly delicate sound. After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. 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. 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. By Posted jordan schnitzer house In strengths and weaknesses of a volleyball player By Phil Plait. Edit Release New Submission. 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. CM tonality throughout. He has come down from Olympus to flirt with beauties in the mortal . In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. 32, was written between 1914 and 1916. 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. To enjoy Prime Music, go to Your Music Library and transfer your . There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. He One accurate version. In notes to his 1967 recording, Boult expressed the hope that his BBC set "came near the composer's intentions" and that his subsequent recordings, while taking advantage of technical improvements, would "still sound faithful and authentic." Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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. Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). This adaptation condenses this monumental movement into a 5-part + percussion arrangement. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. 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. The score is incredibly bare, which makes it sound like a piece of chamber music, which is significant as Holst would have had about 100 musicians to play with. 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. 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. The fourth movement of the suite has the title Jupiter, the Bringer of Jollity" and was written in 1914. 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. 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. Your Amazon Music account is currently associated with a different marketplace. Even within each movement, Holst does not organically develop his themes symphonically, but rather uses them to create a structure suited to the psychological character and associations of each planet. 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.". Jupiter is named after the Roman king of the gods. In art, Jupiter was often depicted as a bearded man with a thunderbolt in his hand. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. B Theme. 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. : Westminster Abbey I Vow to Thee My Country +2 - They played it during Princess Diana's funeral (it's her favorite hymn) and the camera zoom out from . 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. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. 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. - 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 The Planets is best known for his orchestral composition. 10pm - 1am, Symphony No.6 in D major (2) Start the wiki Featured On 'Jupiter, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. Hablas espaol? 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." Despite asthma, he had earned his living playing the trombone in a Scottish orchestra and then by teaching at a girls' school. and here Holst uses cross-rhythms which consist of 6/8-3/4-2/4 changes in this theme. 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. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. 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).