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The Planets Op.32 : VII Neptune, the Mystic. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. $9.00 . 8. Whatever path you may take it does not take away from the fact that the music has gone into complete turmoil for a section of this piece. 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. Holst's students hurriedly copied the parts and only two hours of rehearsal were available. Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. Each movement was issued singly and then together in a seven-disc album. The Planets is an absolutely remarkable suite of orchestral music. The premiere of The Planets was at the Queen's Hall, London, on 29 September 1918 . 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." 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. This creates a percussive sound, which is very exciting and keeps with the theme of this movement representing war. This movement Read more, Gustav Mahler: Symphony No.2 (Movement II) Movement II Once Mahler had completed the Second Symphony, he became troubled as to where the Andante movement should be placed. Sargent considers it a consequence of Holst's characteristic modesty that, after completing The Planets, he made no effort to get it performed, although Imogen felt that her father had no reason to believe that the necessary forces could be assembled in the austerity of wartime. Add Review. 1 in D minor: A Master of Musical Colour. Listen Now . 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. 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. 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. Uranus, the Magician 7. In any event, benefiting from the greater range and flexibility of microphones, amplifiers and mixers, the electrical system soon rendered acoustic recordings obsolete. Only then did another appear, and from a rather obscure and unlikely source. The Planets, Op. 32 | work by Holst | Britannica With deep roots, both parental and musical, in England and Russia, Coates absorbed the unabashed subjective outlook of his mentor Arthur Nikisch, who reportedly told him to trade his conductor's baton for a whip. The Planets. 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). He was previously married to Isobel Harrison. V Saturn, the Bringer of Old Age. All Rights Reserved. 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. But is the greater artist the one who briefly astonishes with unlimited resources, or another who extracts amazing things of lasting value from within the limits of the means he has on hand? Halbrick notes that the form moves from tightly structured to more open-ended. 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. Beyond that, the two most significant "planets" in casting horoscopes the sun and the moon are left out altogether. 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. Related Items. What films use Holst's "Jupiter"? - Quora After all the other instruments fade away only the choruses are left repeating a mild cadence that never really resolves. If nobody likes your work, you have to go on just for the sake of the work. 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. 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. jupiter, the bringer of jollity analysis. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. 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). Jupiter, the Bringer of Jollity - Wind Repertory Project 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. Holst writes this movement in 5/4 time, which gives the feeling of uncomfortable movement at times. Here, while Tomita's Venus and Mars and the end of his Neptune are fairly tasteful if gimmicky adaptations, much of the rest at best is barely inspired by Holst, smothered under a din of rocket blasts, air-to-ground chatter, densely-packed crescendos and the like musical mainly in the broad Cagian sense of expanding our traditional notions to include noise and natural sound. As an astrologer, Bax introduced the concepts and writings about astrology to Holst, which allowed him to rediscover theosophy and philosophy. Dec 24, 2010 7:00 AM. (True to form, Stokowski wrote a letter to the producer with detailed suggestions for improving a test pressing, including filtering out highs from "thin and metallic" trumpets and adding echo to Uranus as if it "came from a great cavern, extremely reverberant" so as to differentiate it from the rest, although neither effect is especially evident.) 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.". 'The Planets' At 100: A Listener's Guide To Holst's Solar - NPR.org 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. [Holst - The Planets] notes by Paul Serotsky Indeed his daughter Imogen insists upon their "characteristic authority. Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. Jupiter, The Bringer of Jollity by David Soczewka Throughout this whole movement, the music usually comes back to the first ostinato that was heard, this creates some stability. Imogen reports that Holst hated incomplete performances (even though at first he had led several himself) and the result here gives a rather warped impression of Holst's concept; moreover, if the Coates set is played in the prescribed order, it closes with the end of Uranus that functions to set the mood for the true conclusion of Neptune and sounds tentative in isolation (although since the movements were on separate records their order could be rearranged, perhaps to end with the triumphant finale of Jupiter.). Jupiter--Bringer of Jollity (from The Planets) By Gustav Holst / arr. Holst said this about Venus The whole of this movement is pervaded by the serenity of a wold which nothing seems able to disturb. Your Amazon Music account is currently associated with a different marketplace. $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. The Planets is best known for his orchestral composition. 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. March 15, 2011 . The colouring of sounds seems to be right at the heart of Holsts orchestration as he has the horns and flutes colour the harp chords at points, and the solo violin is coloured and blended with the lower strings to create a rich sound. ABRSM Grade 8. "As a rule," he said, "I only study things that suggest music to me. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. 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. 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. Jupiter, the Bringer of Jollity | Edinburgh International Festival Geoffrey Crankshaw paints Holst as both a visionary and a man of vast culture, such that the unique totality and universality of The Planets reflects all facets of his protean makeup. 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 adds majesty, benevolence and triumphant zeal to the concoction, with its many themes adding a true sense of adventure. 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. 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? 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." His Mars careens among even greater extremes, from 7:17 (1945) to 6:41 (1954) to 8:02 (1978). So, as the title suggests, I finally decided to take a deep dive into classical music this month. 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. 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. In a program note for the 1920 public premiere, Holst himself commented: "These pieces were suggested by the astrological significance of the planets; there is no programme music in them, neither have they any connection with the deities of classical mythology bearing the same names. Fantasia on Greensleeves Academy of St. Martin in the Fields, Sir Neville Marriner, Edward Elgar, Frederick Delius, George Butterworth, Peter Warlock, Ralph Vaughan Williams Within the basic tempos Imogen calls his beat "clear and unfussy. This movement is also bitonal, and is the only one of the whole suite that is. Its focus of attention on astrology can almost certainly be credited with the renewal of interest in his orchestral suite, The Planets.