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. Venus on the other hand, expresses femininity, peace and gentleness and it creates a quite and peaceful place for the listener. By Phil Plait. 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 . Uranus is perhaps my least favourite, but all the same its still a great piece of music and I feel like it does fit well into the mixture of movement Holst has written. Here they outdid themselves with a space-travel motif, capped with an overflowing bustier and lurid crotch shot. 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? This magnificent work by Gustav Holst is scored in a very /item/detail/I/Jupiter - Bringer of Jollity/2155315 It is made mainly of hydrogen with a quarter helium and has at least 69 moons. "Jupiter" by Gustav Holst is a piece that was part of his collection western classical pieces called The Planets Op. 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? This is soon followed by Saturn, which brings melancholy, pride and old age and this brings a human quality like no other. The exuberance of this movement shows itself not only in its tempo and rhythm but also in the multiplicity of subjects. On his website Tomita lists a huge gamut of signal generators, oscillators, modulators, filters, phase shifters, mixers and more that were used to produce his Planets rather ironically, more pieces of equipment than the number of instruments that would be used by a traditional orchestra to perform the original. Jupiter, the Bringer of Jollity. Pluto Yet Colin Matthews rose to the task in 2000 on commission from the Hall Orchestra. 4 - Jupiter (The Bringer Of Jollity) A: Part 1: B: Part 2: Ad. 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. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic. We feel that a vast journey has transpired and even more significantly that a wider exploration awaits us" (Crankshaw). 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). 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. Finally, Neptune brings mystery, the paranormal and the unknown to the final concoction. James deems the hollow-sounding emptiness as "catching exactly the brutal violence of all fighting" and Denis Stevens as "a premonition of total disaster." 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). 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. Indeed, excerpting the full work became prevalent. Holst: Jupiter, The Bringer of Jollity (from 'The Planets') 22.00 - 28.00. Yet unlike, say, Mussorgsky's Pictures at an Exhibition or Ravel's Tombeau de Couperin that were conceived for the keyboard and only later adapted for orchestra, Holst wrote the piano version of The Planets largely out of necessity and with the full intention of orchestrating it (and apparently with no thought of public performance, as it was only published posthumously). 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. 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). 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." 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. 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. 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. Track: Track 1 - Acoustic Guitar (nylon) Difficulty (Rhythm): Last edit on: 2/22/2011. A far more inclusive, if highly opinionated, list is on the Peter's Planets website (no relation). Jupiter: The Bringer of Jollity: this movement embodies the joy of living. 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. 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. You may be wondering why this movement always feels a little on edge, well it may be due to the time signature that this movement is in. Due to this, the music is very fast-paced with it being much more complex musically than the last two movements. The Planets is an absolutely remarkable suite of orchestral music. Matthew, Colin: "Holst" article in Stanley Sadie and John Tyrrell, eds., Matthews, Colin: notes to the Elder/Hall CD (Hyperion CDA 67270, 2001), Mullenger, Len: "HOLST Suite: The Planets" article on the, Reid, James: An Astronomers Guide to Holsts, Sargent, Malcolm: notes to his BBC LP (Capitol SG 7196, 1958), Schoenberg, Arnold [quoted in a Los Angeles Philharmonic, Trippett, David: "A Biography of Gustav Holst, Part 3: 1915-1928" article on the, Tuttle, Raymond: review of Judd/Royal Philharmonic Denon CD in, Ward, Benjamin [? In his preface to The Planets, Holst advised that there is no program in the pieces and that the subtitles should be sufficient to guide the imagination of the listener. On the 18th I had one of the worst emotional meltdowns of my entire life. Ive worked out that the first section is in E minor, but after that point is goes between C minor, E major and Db minor. 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." 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. 10,000+ blues, R&B, rock, jazz and pop 78s, 45s, LPs and CDs and even some ragas, punk and rap. Your Amazon Music account is currently associated with a different marketplace. 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. 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. Jupiter is named after the Roman king of the gods. Otherwise, Boult's first outing has few unusual features. Its again playing with our ears and creating an innovative and exciting sound using altered rhythms and groupings. Of the various movements, "Mars" and "Jupiter" are the most frequently heard. (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.) 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. All Rights Reserved. Rather surprisingly, while Saturn is engagingly atmospheric, much of the result turns out to be mellow and tasteful, with some disengaged playing and far less garish spotlighting of instrumental lines than we might expect. 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.