jupiter, the bringer of jollity analysis

32 was composed by Gustav Holst, the English composer, born in 1874 in the UK. 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.). 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 Planets, Op. 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." The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. 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." Due to a planned power outage on Friday, 1/14, between 8am-1pm PST, some services may be impacted. Musically though the piece is in strange time signatures such as 6/4 and 9/4. Holst's love of English folk song and dance is readily demonstrated here. 7. Disposition: Though we hear the first two bars as a two-octave, upward run, it's actually Holst introducing each transposition separately. 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? Jupiter, the Bringer of Jollity English composer Gustav Holst's orchestral suite, The Planets, Op. 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. Holst's own imagination had been stimulated by many things, not the least of which was the great literature of English folk songs, introduced to him by his life-long friend, Ralph Vaughan Williams. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. 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. 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." 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. 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. 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. Billed annually at $39.99 View Official Scores licensed from 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. In particular, he cautioned with respect to Mars: "I well remember the composer's insistence on the stupidity of war as well as all its other horrors, and I feel that the movement can easily be played so fast that it becomes too restless and energetic and loses some of its relentless, brutal and stupid power." Jupiter, the Bringer of Jollity. "And then," he concluded, "recently the character of each planet suggested lots to me.". The third theme is marked pesante which means heavy or peasant like. But he didn't seem fazed she also reported that he said: "It's a great thing to be a failure. 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. 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. 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). (in Bb) Hn. Jupiter, The Bringer Of Jollity - Gustav Holst Jupiter from the Planets These pieces were each a representation of how each planet's characteristics is depicted. The composer, a man of intellect and wide-ranging interests, found musical inspiration in diverse places. This adaptation condenses this monumental movement into a 5-part + percussion arrangement. Whilst the strings play the driving ostinato theme, the winds and brass play an equal-balanced motif. (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. 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. March 15, 2011 . The middle section presents a surprising contrast -- a majestic flowing melody in 3/4 . 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. B Theme. 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. 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. The Planets. 4. Such associations aside, in purely musical terms the movement begins in a soft piano menace, builds to a terrifying triple forte (fff) climax as instruments pile on, is halted by a massive discord followed by a slower 5/2 section still "haunted by the martial rhythm" after which the opening "returns with increased, almost hysterical, ferocity, ending with grinding chords" (Kennedy) as strings, brass and tympani dissonantly pound out the initial figure quadruple forte (ffff) as its rhythm finally disintegrates. Each of the seven movements depicts the astrological qualities of a planet in the solar system. Otherwise, Boult's first outing has few unusual features. C Theme. This makes the piece incredibly enchanting, enthralling and completely other-worldly. A stately, more serious processional theme then enters, its royal dignity fully intact, after which the vigorous melody returns. 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. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. He does concede that Imogen Holst, to whose memory his Pluto is dedicated, "would have been both amused and dismayed by this venture.". After Holst heard it at a January 1914 London concert (at which it was largely despised by both audience and critics) he bought the score, heavily annotated it, and regarded it as one of his most valued possessions. THE RUST" for whose rendition of "Ievan Polka" is better, though A.A's is arranged for . Jupiter, the Bringer of Jollity - A Music Analysis Lesson (Distance In the more climatic section of this movement it becomes an incredibly powerful piece of music that feels rather personal. 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. This theme stems into theme four also, with variants being played. 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. Stokowski shared the podium of the NBC Symphony for three seasons after Toscanini petulantly (if temporarily) resigned from "his" orchestra. 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. 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. Brass Monkey - Beastie Boys. 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. The Planets Op.32 : IV Jupiter, the Bringer of Jollity [I Vow to Thee, My Country] . Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: 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. Add Review. The melody slows down for just a second at 0:54, and then suddenly at 0:57, we're thrust into the second theme of the piece (Holst likes to keep us on our toes). 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. 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). 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. The Sciences Jupiter, the Bringer of Jollity Bad Astronomy By Phil Plait Dec 24, 2010 10:00 AM Newsletter Sign up for our email newsletter for the latest science news The line between amateur and professional astronomer has always been thin. Jupiter, the Bringer of Jollity - Music of the Planets One of the most striking aspects about this movement, for me, is the lack of musical transitions and Holsts quite frequent use of time changes just when you may be feeling comfortable with a theme. 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. 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. Thus Holst's own recordings unquestionably provide the most authoritative document of how he intended The Planets to sound. Gustav Holst - Jupiter the Bringer of Jollity Tab. 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'. Also jollity I suppose because the Romans also called him by the name of Jove, from which we get our word jovial. Mullenger further hears the climactic syncopated gasps as recalling Holst's asthma and his struggling for breath as a child. #8. The Planets - Jupite 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. So for instance he uses contrary motion scales between the upper winds and the tuned percussion to create a different kind of scalic sound. Holst considered Saturn his favorite movement, perhaps in reaction to its negative press reviews or because, as Greene observes, his personality led him to identify with its traits of plodding perseverance, diffidence, apathy and endurance, all of which are reflected in the musical grammar. $9.00 $3.95 $3.75 Studio Ghibli Suite $120.00 Ukrainian National Anthem for Symph. Halbreich calls its beauty remote, as "its quiet and silvery stream of sounds unfolds without the slightest hint of any earthly sentiment. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. 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. Venus, the Bringer of Peace To Leo, Venus represents affection, devotion, an even disposition, a refined nature and a keen appreciation of art and beauty, in contrast to Holst's subtitle which suggests simplification to a single attribute. 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. 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). ABRSM Grade 8. While professing fealty to Holst's intentions, Boult clearly felt free to pursue a different course. Comparing Holst's two recordings, the second obviously has richer sound. 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). 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. 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 - Slate Magazine In every respect its slower pace, lighter instrumentation, supple rhythm, gently oscillating chords, restricted dynamics and soothing harmonic motion Holst's Venus provides a striking contrast to Mars (emulating a comparable shift in the Schoenberg Suite) and serves to reorient us toward a sense of human dignity that subtly evokes the qualities in Leo's attribution. 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 is named after the Roman king of the gods. "), Perhaps in keeping with his visionary outlook and disdain for fame, unlike nearly all other composers Holst thwarted popular expectation by resisting the temptation to follow The Planets with a successor of a similar structure or style. That was pretty fun. The music is composed by Gustav Holst, and the score reduction and analysis is by Nathaniel Kuhns.. 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. 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. Jupiter - The Planets 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. Your Amazon Music account is currently associated with a different marketplace. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. However dark the underlying topic may be here, the music creates a stunning effect that is mesmerising to hear. Dvorak's 5th Symphony ("New World,". $9.00 . Greene sees a similar but psychological progression from life in the physical, profligate world to a mystical, stoic state. That said, he and his orchestra produced quite a credible performance. 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." 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. This movement is also bitonal, and is the only one of the whole suite that is. Holst bounces through keys creates a fresh and exciting sound, which contrasts again to the previous movement. Saturn, the Bringer of Old Age The Planets, Op.3: IV. Jupiter, the Bringer of Jollity 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 . Just the kind of opening a "bringer of jollity" should have. Recurring 3-note ostinato. 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'. The Planets, Op. 32 | work by Holst | Britannica This movement in general is quite unconventional, which has been said to represent the idea that Uranus as a planet moves on its own side axis, which in itself is different.

Barry County, Mi Jail Mugshots, 2023 Chicago Mayoral Election, Apple Shipping From Shanghai, Funeral Homes Camden, Ar, Properties Of Water Quizlet, Articles J