jupiter, the bringer of jollity analysis

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'. Yet Foreman notes that Holst's interest in astrology began to fade following The Planets, which perhaps was just as well, as Leo himself was convicted under the British Witchcraft Act shortly before his death in 1917. 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. 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 Each of the seven movements depicts the astrological qualities of a planet in the solar system. Jupiter adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. 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. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. Indeed his daughter Imogen insists upon their "characteristic authority. 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. 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." 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. 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.). To contrast the previous, quite solemn feel to the movement, there is an outburst within the orchestra, which could mean a plethora of different things. Jupiter, the Bringer of Jollity. The most unconventional part of this movement, however, is Holsts use of a female choir in the latter half of the movement. 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. The Planets, Op. 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)? 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? 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, The Bringer Of Jollity - Gustav Holst Jupiter Clarinet Quartet 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. 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'. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. 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. Elegance is how the passage is composed of such a limited set of materials. Jupiter, the Bringer of Jollity - Slate Magazine RT @opRaystorm: jupiter, the bringer of jollityVO4 # #VO4 #. I must emphasize that this does not purport to be a comprehensive or definitive survey, as I've only focused on the pioneering recordings that strike me as having significant historical and stylistic interest. 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. But perhaps the most direct musical influence was Arnold Schoenberg's 1909 Fnf Orchesterstcke (Five Orchestral Pieces). No items for sale for this Release. Jupiter, Bringer of Jollity" is the central movement of Gustav Holst's Planets Suite and has the most varied melodic structure: with its Stravinsky-like ostinati and syncopation and a central melody as solemn as an anthem, it constitutes the quintessential early-20th-century English composition. 6. All of these different quirks creates this exciting, fast-paced movement which is slotted in near the middle of the suite (which correlates with it being written last in 1916). This bombastic, heavy march theme is heard a fair bit throughout this movement and is often interrupted by the first four-note fanfare theme. Imogen confirms that Holst followed this directive in his own performances. 4 - Jupiter (The Bringer Of Jollity) A: Part 1: B: Part 2: Ad. Jupiter - The Planets This quirky theme is soon left behind as the second theme enters, which is a basic fanfare theme that is varied throughout this shorter section. 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. As Foreman notes, the resulting torso left an impression of undue heaviness. 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). $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. Sadly though, with the popularity this work brought, Holst was dampened by it, and swore to never write anything like it again. Firstly, he is in 6/8 throughout the first half of this movement, although his grouping of notes gives different time signature feelings. 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. Commentators count among its many and diverse influences: the flexible rhythms of Thomas Morley and other English madrigalists (Douglas Lee); Berlioz's seminal Treatise on Orchestration which Holst absorbed and used as a springboard to discover sonorities of astounding originality (Harry Holbreich); Debussy's expanded orchestral palette that broke the grip of Teutonic standards upon English music (Lewis Foreman); the orchestral power and rhythmic vigor of Stravinsky's Rite of Spring (Len Mullinger); the tension and crossing between the fading Edwardian spirit (as embodied in formal education) and the rising Jazz Age (as reflected in kaleidoscopic student vulgarity) (Richard Greene); the idealistic philosophies of Walt Whitman and William Morris (Colin Matthews); a blend of Hindu philosophy and English folksong that set Holst on a path far from the mainstream of traditional European form in which his early works reveal a thorough grounding (Matthews); and exploration of folk music and modes of eastern scales and rhythms that induced individual flavors and an escape from Anglo-German melody (Arthur Hutchings). Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). The strings play col legno which means that the players play with the wood of their bow, not the hair. Only then did another appear, and from a rather obscure and unlikely source. His career as a pianist had crashed at college when he developed neuritis so severe that he reportedly could write music only by tying a pen nib to his forefinger. 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. 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. 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. None of his further works caught much attention from colleagues or the public; although often austere and still heavily weighted toward vocal pieces, they included operas, fugal and double concertos, a choral symphony, orchestral, chamber and piano works and even a self-descriptive 1932 "Jazz Band Piece.". The theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. Billed annually at $39.99 Just the kind of opening a "bringer of jollity" should have. 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. 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 . ]: biography and "The Planets" information on the. 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. CM tonality throughout. Reviews. Jupiter: The Bringer of Jollity: this movement embodies the joy of living. But then a sudden explosion ushers in intense activity that, according to Matthew, uses solar winds as a starting point. Gustav Holst - IMDb Soon to enter are the horns, lower strings and both sets of timpani with a syncopated theme which builds into the fabric of this first theme (of a mighty six for this movement!). 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. 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. 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). In that regard, Matthews considers him the most original English composer, with a capacity for self-renewal, constitutionally incapable of repeating himself. The Planets, Op.32 - IMSLP: Free Sheet Music PDF Download This site uses cookies to offer you the best possible experience. 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." 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. Within the basic tempos Imogen calls his beat "clear and unfussy. Holst composed The Planets over a course of two years, beginning in the summer of 1914 with Mars and continuing through the other movements in order, except for Mercury which he wrote last. 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.". 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. 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). Theme five is an amalgamation of the pesante theme with the fanfare theme, which gradually gets a little faster before we arrive at theme six. Unfortunately, only Mars, Mercury, Jupiter and Uranus were recorded, perhaps to focus on the faster movements that were easiest to capture, would have the most popular appeal, would provide a marketing advantage by fitting onto four rather than seven discs, and seemed best matched to Coates's spontaneous musical temperament. 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 . 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. In any event, Greene concludes that The Planets functions on a metaphoric level, presenting a succession of "mood pictures" rather than programmatic depiction. 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. 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. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. Comparing Holst's two recordings, the second obviously has richer sound. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. In short, this movement reveals Holst as the gutsy risk-taker that he was. B Theme. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. (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.) This particular melody is quick, syncopated, and full of energy. Difficulty : E approx. Listen Now . Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. $9.00 . In any event Holst denied that horoscopes had anything to do with The Planets but rather that, as the underlying idea of astrology, "the character of each planet suggested lots to me" and that he regarded the universe as "one big miracle." Musically though the piece is in strange time signatures such as 6/4 and 9/4. 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.". Foreman posits that the progression parallels the ages of man, from youth to old age. funfetti pancake mix cookies jupiter, the bringer of jollity analysis. 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. Rapidly ascending scalar motion. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". This theme stems into theme four also, with variants being played. The end of the work comes to a much more delicate close, with the upper strings playing in stunningly high octaves. He It seems the approach with this movement is not how much you do, its actually what you dont do as a result of this. 5.0 out of 5 stars 2 ratings. Rather, he continued to work in a wide variety of styles, albeit slowed by a concussion he suffered in 1923. Sell a . 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, the Bringer of Jollity' is the exuberant (and very English) central movement of Holst's 'The Planets' suite, arranged here for wind quintet. While none attracted much notice or met with any appreciable success, their underlying character would permeate The Planets. Its techniques like these that make this music sound space-age and very modern for its time. Even so, she did express two reservations: that the end of Neptune is too abrupt (with only a single repetition of the closing bar) and that the final staccato chord in Mercury is much too loud, which she attributed to using too large a gesture in order to avoid a ragged attack, which would have required scrapping the whole side. 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. 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. "We Will Rock You" by Queen is the epiphany of motivational team music. 5. 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. If nobody likes your work, you have to go on just for the sake of the work. Yet she even suggests that "it may be a fault that it is too clear-cut, a sharp outline when perhaps a vague impression would have sufficed," which Hutchings attributes to Holst's peculiar psychosis of austerity. 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. Recurring 3-note ostinato. Concurrent with Boult's first remake, Decca issued a competing LP that, coming at the very end of the mono era, was soon superseded by a stereo version (albeit with a different orchestra), much as Holst's acoustical set had been promptly replaced by its electrical remake. Freed similarly credits Holst with innovation beyond the scoring of his predecessors: "His vast forces are deployed with the utmost imaginative flair to achieve the most delicate and subtle effects and always with the feeling of great wells of strength in reserve." James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." 2023 Los Angeles Philharmonic Association. #8. The Planets - Jupite ABRSM Grade 8. Saying this though he was said to have a soft spot for his favourite movement, Saturn. He drafted it as a two-piano score during weekends in a soundproof room at St. Paul's Girls' School in Hammersmith where he taught and, due to his neuritis, upon whose students he relied to perform his sketches and write out the orchestral score according to his directions. Download 'Symphony No.6 in D major (2)' on iTunes, This image appears in the gallery:A beginners guide to Gustav Holsts The Planets Suite. Here is a score reduction and analysis of "The Planets: Jupiter, the Bringer of Jollity". Ob. 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. , , , rapzh.com , , Despite their simultaneous appearance at the dawn of the era of electrical recording (which would seem to suggest a hearty public appetite for more), the Holst and Coates sets appear to have sufficed to sate demand for 16 years. Its first public performance took place in 1920, and it was an instant success. - Orrin Howard The turmoil of the previous movement is seamlessly soothed away by the dulcet sounds of this movement, which is just so peaceful. Claiming inspiration from the innovative orchestration of Rimsky-Korsakoff, Stravinsky and Ravel, his three earlier albums (Snowflakes are Falling the Newest Sound of Debussy, Pictures at an Exhibition and Firebird) took their cues from Walter Carlos's 1968 Switched-On Bach by substituting electronic sounds for the actual instruments and thus generally respecting the structure and content of the originals. Saturn, the Bringer of Old Age 6. The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. 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. Boult had been a relative novice at conducting when he led the first private performance at the composer's request in 1918, but Holst clearly was pleased, later presenting Boult with the score inscribed: "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst." 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. 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. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. 3:52 . The adjective jovial originally described those born under the planet of Jupiter, reputed to be jolly, optimistic, and buoyant . Every artist ought to pray that he may not be 'a success.'" 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." 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. General Analysis and Outline of Jupiter JUPITER, the bringer of jollity. Instruments : Fl. Halbrick notes that the form moves from tightly structured to more open-ended. We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). 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). So what makes the twinkling sound within this movement? While the piano score is useful for study purposes, despite the technical excellence of several recordings the keyboard version unavoidably purges The Planets of all its color and texture. The end of the movement is essentially a recap of earlier themes and bringing them together for the climatic end. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. At least to my ears, the result here is more desecration than decoration of Holst's concept. Otherwise, Boult's first outing has few unusual features. 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. Again, the contrast of moods and texture within the movement really do highlight how wonderful a composer and orchestrator Holst really is. How Holst's Jupiter influenced film and video game scores - CMUSE 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. 32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. This movement is also bitonal, and is the only one of the whole suite that is. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Release date from LSO Discography . 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. 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. 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. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. Holst's love of English folk song and dance is readily demonstrated here. - 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 Key/tempo of playlist SummerClassical By Dominia | Musicstax 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. 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.