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

(Ian Lane) As with English madrigals and folk songs, Holst was fascinated by the use in Eastern music of non-Western scales, spare textures and unconventional time signatures of 5, 7 and even 21 beats (which he declared were more suitable for setting English words) and incorporated those features into two operas and dozens of settings of Indian religious texts. 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. 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 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. If nobody likes your work, you have to go on just for the sake of the work. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. The Planets, Op. 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. 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. Buy song $0.99. ABRSM Grade 8. Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: $73.00: View: Jupiter--Bringer of Jollity: Full Orchestra Conductor Score: $9.00: View: Jupiter (Bringer of Jollity): 2nd B-flat Trumpet PDF Download By Gustav Holst / arr. Jupiter is named after the Roman king of the gods. Such guidance is especially important, as Holst did not provide metronome markings; rather, he labeled his movements with the traditional vague Italian terms (Allegro for Mars, Adagio for the opening of Venus, etc.). 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. Credits. Soon heard is a very interesting dotted-rhythm motif from the whole bassoon section, with the contrabassoon being at the forefront. Saturn, the Bringer of Old Age The optimism of Jupiter meets its opposite extreme in this terrifying depiction of the inevitability of life receding. When war broke out, as James Lyons put it, he "tried to do his bit" but "no agency had any use for a fortyish musician who could not see six yards ahead of him with his spectacles on." No items for sale for this Release. 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. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. Beyond the resemblance of Mars to the first movement of Schoenberg's Suite, Mullenger asserts the influence of Stravinsky's Rite of Spring (although the savage climax of that work thrives on thoroughly erratic downbeats rather than the rigid, relentless rhythm here). This makes the piece incredibly enchanting, enthralling and completely other-worldly. Any meaningful consideration of Planets recordings begins here. The music creates a sound world that is mystical and very well-balanced in terms of orchestration. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. 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. All Rights Reserved. Billed annually at $39.99 Foreman posits that the progression parallels the ages of man, from youth to old age. To achieve this, Holst further instructs: "The Chorus is to be placed in an adjoining room, well-screened from the audience, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed." "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. 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. 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. 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. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. This masterpiece was originally scored for an unusually large orchestra - with several relatively obscure instruments. This movement is also bitonal, and is the only one of the whole suite that is. Hutchings, Arthur: "Music in Britain, 1918-1960" article in Martin Cooper, ed., James, Burnett: notes to the Boult/Philharmonic Promenade LP (Nixa LP 903, 1954), Kennedy, Michael: notes to the Boult/BBC reissue LP (HMV Treasury ED 39 0725 (1986), Lyons, James: notes to the Steinberg/Boston LP (DG 2530 102, 1971). Edit Release New Submission. The overall tone is militaristic in sharp, percussive, insistent ostinato 5/4 time. Jupiter: The Bringer of Jollity (132kb): The spirit of this music is very much in keeping with the astrological significance of Jupiter as the planet of benevolence and generosity. Jupiter is the largest and oldest planet in the solar system, born about 4.5 billion years ago. Completed in the summer of 1893, the Andante Read more, Gustav Mahler Symphony No.2 (Genesis & Movement I) Genesis In 1888, when Gustav Mahler began working on the first and second movements of his Second Symphony, he had completely immersed himself in paradoxical Read more. Three months earlier Edwin Evans had expanded on this outlook in a Musical Times article, presumably with the composer's authority: "The generally accepted astrological associations of the various planets are a sufficient clue in themselves to the imagination. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. In a somewhat related development of pop culture, not only Williams's Star Wars but countless other sci-fi outer-space movie soundtracks have been (and still are being) derived from The Planets. 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. CM tonality throughout. 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). A6. 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." He 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. 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. In any event, for a work glorified for its magnificent orchestration it's hard to imagine a more suitable match than the conductor who, more than any other of his generation, reveled in instrumental color and was deeply involved in the recording process and the sheer sound of his records. RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. The theme alone in this section melodically rich, appealing and compelling, with this section being very separated from the rest of the movement in mood, timbre and also texture. 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. All are firmly in modern idioms and (to me, at least) seem to have no discernable connection, musical or otherwise, to the Holst work. 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 . Indeed, Holst instructs: "The orchestra is to play sempre pp throughout" [somewhat redundantly sempre means "throughout"] and added "dead tone" to his personal score; as a result "it never rises above a whisper to transport us to the quiet ecstasy of the Contemplative" (Sargent). His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). This particular melody is quick, syncopated, and full of energy. Mars, the Bringer of War Holst wastes no time launching his Planets with startling gestures. Saturn, the Bringer of Old Age 6. 2023 Los Angeles Philharmonic Association. This theme stems into theme four also, with variants being played. Finally, nearly two decades after Holst's own electrical remake, the next complete Planets arrived. These bursts also give an insight into the military feel as you can often hear fanfares from the brass section. 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. 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. Otherwise, Boult's first outing has few unusual features. In doing so, he opened an entirely new world for himself." Perhaps the best example of this is actually at the beginning of the piece, where we hear the repeating ostinato rhythm from the strings which drives and dominates this whole movement. Vernon Leidig Full Orchestra Conductor Score Grade: 3 Item: 00-12202S. It is made mainly of hydrogen with a quarter helium and has at least 69 moons. 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). Upon seeing the score there are some areas where there are two chords appearing simultaneously, yet they have no diatonic relationship whatsoever. At least to my ears, the result here is more desecration than decoration of Holst's concept. The frantic scramble at the end of the movement leads up to the massive stabs at the end, which bring the whole orchestra together to create an exciting and powerful end to this movement. 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 bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. 1 in D minor: A Master of Musical Colour. Jupiter, The Bringer of Jollity. March 15, 2011 . 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. What about Pluto? Jupiter, the Bringer of Jollity evokes characters as well as jokes and fun-loving games. 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. 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. - 7/10 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 $9.00 . Holst also utilises one of his trademark compositional techniques cross rhythms and complex rhythmic cells. 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). As Foreman notes, the resulting torso left an impression of undue heaviness. Free online tab player. 8. 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." Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. Even allowing her some degree of exaggeration, the technology surely did present daunting challenges the size of the orchestra had to be drastically reduced, instruments were hard to distinguish when shorn of their highest overtones, string basses couldn't register at all, and dynamics had to be compressed to dwell between a floor of surface noise and a ceiling of distortion. To highlight these time changes, Holst utilises scales and scalic movement to create varying effects. Uranus, the Magician 7. Isao Tomita was a Japanese pioneer who sought to move electronic music beyond imitations of conventional instruments by applying a full range of sound that he envisioned as comparable to a painter's palette. 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). Listen Now . 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. 5. Neptune, the Mystic Complete Score #757891 - 7.17MB, 191 pp. Boult calls it "a perfect impression of winged lightness" and its harmonic ambivalence "a wonderful sense of elusiveness as of quicksilver.". 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 exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. With the harmonic ostinato (the harmonic intervals being of two half-diminished seventh chords Bdim7 and Adim7) and the oscillating chord changes between the flutes and harps creates a dark image for the listener. That's why I worried at Sanskrit." 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. 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. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. 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. While taking full responsibility for the musical judgments, I've done no independent research and gratefully acknowledge the following sources for the facts and quotations in this article: Boult, Sir Adrian: notes to his New Philharmonia LP (Angel S 36420, 1967), Crankshaw, Geoffrey: notes to the Marriner/Concertgebouw LP (Philips 950042, 1978), Foreman, Lewis: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Freed, Richard: notes to the Susskind/St. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. John Marsh Yet Holst considered its message to be not only physical decay but a vision of fulfillment, and indeed in the subdued coda the frustration and angst of inevitable decline melts into acceptance. 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. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". Jupiter, the Bringer of Jollity. There is an extensive use of percussion and other less-used instruments such as contrabassoon, euphonium and tuned percussion. That is just about the finest imagery of Jupiter from the ground I have ever seen! He was also known as the bringer of jollity, which meant he was responsible for good times and good luck. 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. The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . . Vernon Leidig 2nd B-flat Trumpet Part Grade: 3 Item: 00-PC-0000054_T2. On a holiday in 1913 Holst became enamored of What Is the Horoscope and How Is It Cast, one of several books in which Alan Leo attempted to popularize, modernize and systematize astrology as a scientific practice concerned with the delineation of character rather than prediction. (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.) Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet Sheet music for Clarinet other (Woodwind Quartet) | Musescore.com Winter Sale: 65% OFF 03d: 21h: 14m: 39s View offer 00:00 / 01:24 Off 100% F, d Winter Sale 65% OFF Play the music you love without limits for just $9.99 $3.33/month. Dvorak's 5th Symphony ("New World,". The simple answer is that Pluto was only discovered and named in 1930, long after The Planets took final form. Coruscating textures disgorge luxuriant themes of cholesterol-packed bonhomie. 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. 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). 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. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. The Planets is an absolutely remarkable suite of orchestral music. The main and hymn-like themes of Jupiter Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. 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? Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. This site uses cookies to offer you the best possible experience. 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. In short, this movement reveals Holst as the gutsy risk-taker that he was. 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 composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. ", 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." Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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, excerpting the full work became prevalent. 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. This movement is incredibly exquisite and it ends the suite so delicately and I, as Im sure you all are, full of questions about why it has ended the way it has. Uranus expresses magical forces, animation and playfulness to the mix. But perhaps one of the earliest foretastes of that bond came with the 1970 reissue of the 1960 Boult/Vienna State Opera Orchestra Planets on Westminster Gold, a label known for metaphoric and often witty (if occasionally tasteless) covers that presumably strove to lure unwitting pop fans to the classics. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. 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. While Matthews claims that "in the process I came perhaps closer to Holst than I had expected," to me much of it sounds closer to Charles Ives.