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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. Mercury, the Winged Messenger Leo describes Mercury as colorless and adaptable, absorbing the essence of those it contacts. 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. 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. If Holst's recordings were meticulous translations of his score into sound, Coates's is a deeply inventive interpretation that opened the door for others to approach it fearlessly with their own notions of personal freedom. 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. 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. Otherwise, Boult's first outing has few unusual features. Soon heard is a very interesting dotted-rhythm motif from the whole bassoon section, with the contrabassoon being at the forefront. 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. Buy Jupiter - Bringer of Jollity by Gustav Holst/arr. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. The last melodic cell is built up throughout different instruments (its repeated 12 times to be precise!) Despite their varying tempos that defy the general trend of conductors adopting more autumnal outlooks as they age, Boult's Planets do generally tend to be progressively smoother, and, of course, the recording quality itself becomes more subtly detailed as the technology develops (although even the 1945 BBC rendition already exhibits a fine tonal blend and balance). What an astonishment the Age of Aquarius would have been to Gustav Holst (1874-1934). Not only is this movement calm and tranquil, but if offers a rest and an answer against the war. All Rights Reserved. In the meantime, between the two Sargent LPs, Stokowski produced the first stereo Planets, as well as the first by non-British forces. 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. 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 theme is undoubtedly celebratory, taking us on a whirlwind of emotions which is full of climatic passion, zeal and triumphant feelings. 6. [O]nce these relations are established in the titles of the movements, it is easy to fall into the mood of the respective tone poems. The movement paints a wonderful landscape of sound which, even with the lack of musical transitions, is still musically exciting. Jupiter, the Bringer of Jollity. jupiter, the bringer of jollity analysis. Returning to the militant overtones, Kennedy, though, calls it not a rite of Spring but of Armageddon. : 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 . This stunning movement, similarly to Mars, uses 5/4 time signature, although the groupings are different from that in Mars, with this movement being grouped 3-2 as opposed to either 2-3 or 5. 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. Description: PDF Download Download: Price : Jupiter--Bringer of Jollity: Full Orchestra Conductor Score & Parts: 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). at jwpepper.com. That said, all of Boult's Planets recordings are splendid except for the 1960 LP with the Vienna State Opera Orchestra which is crudely played with weak ensemble. 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). 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. Louis (Turnabout, 1975), Solti/London (Decca, 1979), Maazel/France (CBS, 1980), Dutoit/Montreal (1986, Decca) and Gardiner/Philharmonia (DG, 1994). 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. Imogen called the tempos "a revelation" and gave as an example that although Venus is marked adagio, Holst's recordings suggest more of an andante (that is, only moderately slow). Perhaps not, but it does however encapsulate the tormenting and thunderous feelings of war and the devastating consequences. Billed annually at $39.99 View Official Scores licensed from Jupiter: The Bringer of Jollity: this movement embodies the joy of living. Buy song $0.99. Matthews hears a range of aspects of Holst's (and, perhaps more generally, human) personality, from the quicksilver elusiveness of Mercury and extroversion of Jupiter to the relaxed lyricism of Venus and remote mystery of Neptune. 03 Mar 2023 23:14:51 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. "And then," he concluded, "recently the character of each planet suggested lots to me.". Having written conventional, mostly choral, pieces, and few in established genres, his musical reputation was local and performances were rare. "Jupiter, the Bringer of Jollity" is the fourth movement of The Planets, Gustav Holst's masterpiece. 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. The most widely-mentioned influence, hardly surprising from the very titles of the individual movements, is astrology. Mercury brings liveliness, gaiety and youthfulness into the mixture and its vivacious nature makes it a fast-paced and exciting movement. Two movements apparently were remade, again acoustically, in 1925 with notably changed tempos Saturn in February (slower) and Jupiter in September (faster). Of the various movements, "Mars" and "Jupiter" are the most frequently heard. (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.) The theme, however, comes out of absolutely nowhere and just begins within the loose key of Eb major. A related facet is the extent to which each movement relates to its titular god. Holst became interested in astrology through his friend (and later librettist for his opera The Wandering Scholar), Clifford Bax. Here's a list of every project I listened to during February of 2023 that I gave an 8/10 or higher. - No. Each movement was issued singly and then together in a seven-disc album. The headnotes below list the conductor and the orchestra in bold (the choir's role is too brief to warrant mention), followed in parentheses by the year, original label and format and, if different, the reissue I heard. 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. Often analogized to a symphonic scherzo, it's light, agile, playful and fully reflects an active mind eagerly searching for meaning amid disparate sources. 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." Holst's love of English folk song and dance is readily demonstrated here. 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." The Planets Op.32 : VI Uranus, the Magician. 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. This tri-tonal invocation is incredibly calm and it emphasises the oscillating wind and harp chords, which run throughout most of the piece. Heard today both versions startle immediately with their sheer overall speed in comparison to modern recordings which tend to dwell around 50 minutes, the total timing of the first set is 44 and the remake is a mere 42 (largely due to a much more animated Venus). Unlike Stravinsky, who recorded his seminal ballets only once his style had evolved radically from expressionist firebrand to detached neoclassicist, Holst began committing his Planets to disc a few years after its premiere, with the creative impulse presumably still fresh in his mind. - Orrin Howard 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). 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. 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 exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. 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. Ob. 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. ", 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." Foreman posits that the progression parallels the ages of man, from youth to old age. He gave as an example: "Mercury is the symbol of mind." As Schoenberg put it in his own anarchistic program note: "The music seeks to express all that swells in us subconsciously like a dream; which is a great fluctuant power, and is built upon none of the lines that are familiar to us; which has a rhythm, as blood has a pulsating rhythm, as all life in us has its rhythm; which has a tonality, but only as the sea or the storm has its tonality; which has harmonies, though we cannot grasp or analyze them nor can we trace its themes."