When one thinks of great classical composers, popular artists such as Mozart, Bach, Tchaikovsky, and many others come to mind. However, many people don’t acknowledge the lesser known composers, such as Gustav Holst. Holst was one of many composers who got caught up in the misfortune of being recognized for only one work, “despite having written many that merit recognition” (Heffer, “Holst: Beyond ‘The Planets’”). Holst was generally not liked, aside from ‘The Planets”, due to the fact that he was known for writing “austere” and “stark” compositions. However, this is what set him apart from the rest of composers of his time. Holst was truly a talented composer, made great songs, and should not be acknowledged for his most popular work, but his …show more content…
other works as well. Gustav Holst, or Gustavus Theodore von Holst, was born in Cheltenham, England on September 21, 1874 to two musicians: his father, Adolph Holst, a professional musician, and his mother, Clara Holst, a talented singer and pianist. From a young age, his parents encouraged him to be a musician and insisted that he begin on the piano with his father as his instructor. While he did enjoy playing piano, he had to put an end to it due to neuritis in his right arm. He then, under his father’s request, began to receive formal instruction in both violin and trombone. The latter, however, proved to be more useful in terms of his career and his compositional style. After he was accepted into the Royal College of Music in 1893, he met Ralph Vaughn Williams, another young composer, who had unknowingly become his lifelong friend. Williams is responsible for influencing many of Holst’s later pieces (his early works were mostly influenced by Richard Wagner). Holst then left college in 1898, toured with the Carl Rose Opera Company as a trombonist and accompanist until 1900, got married to Isobel Holst in 1901. He then left the opera and joined the Scottish Orchestra until he decided to end his career as a performer in 1903. He then began to teach at St. Paul’s Girls’ School in Hammersmith, England, in which he wrote Hammersmith. He worked on the piece every day in the building’s sound-proof room which he considered to be the most perfect place to write music. Opus 52, Hammersmith, Prelude and Scherzo for Band is considered to be a classic that should be in any, and every, band repertoire. Before Hammersmith, many thought of Holst as just an amateur, and incapable of producing anything more difficult than his first compositions. It was in 1927 when Holst received an offer from the British Broadcasting Company (BBC) to compose a piece for their band. Although he was delighted, he had postpone the piece, due to the fact that he was currently finishing a piece, Bach’s Organ Fugues for military band. Bach’s Organ Fugues for military band would later end up being the first piece to be considered professional, even though he had already written First Suite for Military Band in E♭ and Second Suite for Military Band in F (both pieces were considered amateur). Finally, in 1930, Holst completed Hammersmith, a song that “marked his compositional maturity” (Biles, Logan: “Hammersmith, Op. 52”). It is believed that because the piece’s performance was delayed for so long (1954), BBC had requested a song be written from Holst because they believed they would receive a simply written song. It was after they listened to the song that they realized the song was “too demanding” (Biles, Logan). Whatever the case may be, Hammersmith truly is a beautifully written song that captures the essence of Hammersmith, England perfectly. “The only two things that I think were in my mind were (1) a district crowded with cockneys which would be overcrowded if not for the everlasting good humor of the people concerned, and (2) the background of the river, that was there before the crowd and will be there presumably long after, and which goes on its way largely unnoticed and apparently quite unconcerned,” states Holst, in reference to Hammersmith. The piece itself does not have an overall certain key signature, but rather is written completely in accidentals with the occasional key signature in random places. Although, upon closer observation, the piece is written in two contrasting keys: E major set against F minor. The piece is written in various time signatures, 4/2, 3/2, and 2/4, with a tempo of half note equals 60, which later switches to 6/8 with a tempo of 72. The opening prelude begins with the bases playing an ostinato, representing the river that runs through Hammersmith, Thames. The horns then come in playing the prelude melody in a different key, which sets the dramatic contrast between tonalities for the rest of the piece. The entire piece is said capture “bitonality, ostinati, and stark motivic contrasts” (Biles, Logan) very well. After the horns finish the melody, the very same melody is passed on to the upper woodwinds, continuing with the same harmonic coexistence, perfectly representing the Thames River. After the upper woodwinds finish, a “highly rhythmic jaunt is presented [by the piccolo],” (Biles, Logan). A glissando between the triads from both keys is heard from the trombones, and the same piccolo rhythm just played is repeated by a trumpet. The bass ostinato remains persistent, even through the time change, and the brass and woodwinds finish the prelude. Overall, the prelude can be described as “unnoticed, unconcerned, and slow” (Pilato). Following the prelude, the scherzo begins with the flutes playing the main fugue in F minor and the solo B♭ clarinet following suit with the same fugue. Midway through the clarinet fugue, the flutes begin to play a rhythm in 6/8. The alternating rhythms set the tone for the entire length of the scherzo: two keys and two major rhythms that fight for what seems to be dominance, but upon closer listening, they are fighting for coexistence. This struggle greatly differs from the calmness that was the prelude, which goes to show the contrast between the calm waters of the river and the bustling city of Hammersmith. He captures the setting by his use of polymeter, or the juxtaposition of two different meters. The clarinet and flute continue alternating fugues and the rest of the band joins in with the same fugue. Throughout the entire piece, the same melodies are passed from section to section. What was most intriguing was Holst’s use of a minor ninth within the base line while the upper woodwinds continued playing one of the many melodies used in the middle of the scherzo. This section is also one of the loudest within the piece. A couple measures later, the roles are reversed and the upper woodwinds play the minor ninth while the brass plays the recurring melody. The piece begins to soften and a new section is introduced, started by the tenor sax. The solo clarinet returns and plays a lonely and haunting theme, which is followed by a different lonely theme by a solo flute. The themes are passed from instrument to instrument and the brass follows with the same lonely melody. The Scherzo fugue is reintroduced by the solo clarinet and is followed by the flutes and trumpets, and shortly after, the rest of the band. The piece comes to an abrupt halt and the prelude bass ostinato returns.
The piece also switches from 3/2 back to the original time, 4/2. An oboe plays on top of the ostinato, followed by the main fugue from the scherzo from a flute. A solo clarinet plays the same fugue following the flute. Both continue to play, but this time, the two are in harmony, unlike in the scherzo in which both struggled for coexistence. The same melodies are passed from the woodwinds to the brass, all the while, the ostinato starts to become more and more fragmented, “sporadic, even” (Biles, Logan). A baritone enters, playing a somber melody, and the piece ends with the basses echoing a descending step from G to …show more content…
F. As you may or may not know, Holst is undoubtedly my favorite composer.
So when I found out about this assignment, late-July, due to the fact that I was not there for the last two days, I looked for his name on the list. I found his name, and the first thought that came to mind was his ever-famous piece, “The Planets”. Having known that Holst did not like to be recognized by this piece alone, I decided to educate myself in a different piece. When I first listened to Hammersmith, I was immediately drawn to the song because of the ostinato and the contrasting keys in the beginning. I continued to listen to the song, and I fell in love. I knew that this song was one I wanted to write about. The song was put on replay and every time I listened, I paid attention to each and every single element of the song. I found that Holst tends to have that effect on his listeners because every time you listen, you find something new. I began my research and found the backstory to this piece. Holst tells a story about his “two worlds”; the calmness that an unconcerned river brings and a boisterous, bustling city. Already, I knew that this was going to be an interesting piece to write about because of the contrasting
elements. Writing this paper has opened up a world of better listening skills and will allow me to better identify key elements in music more often. It has also given me the chance to write about something I actually like, hence, the six pages. Thank you for this wonderful chance to write about music.
Next, was the longest movement, Molto vivace. Dominated by D minor, this movement resembled the introduction of the opening theme in the first movement but with more lightheartedness. Also called a scherzo because of its “dancelike” theme, this section utilized the Flute, Oboe, Clarinet, Bassoon, French Horn, Trumpet, Trombone, Timpani, and Strings. I also noticed a downbeat around every three beats throughout the fast tempo in this section.
...ers and the audience. The dramatic nature of this piece alone is something to be reckoned with as it is extremely passionate. The symphony is presented in 4 movements as is common and begins with a Poco Sostenuto- Vivace, followed by a Allegretto movement, Presto movement, and finally ends on an Allegro con brio movement. the central theme of this piece is introduced in the first movement by a flute playing in tripple meter continuously ascending up the scales rising in dynamic contrast, continuing to grow into a louder and more stark contrast between it’s highs and lows. Consistently dance like, the piece is celebratory of its roots buried in historical Austrian music that has been present in the culture for years. The accomplishments of the soldiers for which the piece was composed for are easily told of simply by the energy and power present throughout the piece.
When one thinks of the Romantic composers, the names Beethoven, Wagner, Chopin, or Liszt come to mind. Looking even further into the period one sees the names of nationalist composers like Glinka, Tchaikovsky, and Smetana. Unfortunately, there are still many composers of the Romantic era whose music is known, but for some reason there names have grown apart from there music. Edvard Grieg, a Norwegian nationalist composer, is one of these men. Many people would know Grieg’s work “In the Hall of the Mountain King” if they heard it, but would be unable to tell you who had written it or where the work originates from. Despite his lack of fame in today’s world, his music still is a prime example of the Romantic period and tendencies. Two works in particular are “Morning Mood” and “In the Hall of the Mountain King”, both from his Peer Gynt Suite No. 1, despite their very conflicting styles.
Gustav Holst (1874-1934) was a contemporary composer, who is best known for his composition, "The Planets". He was born in Cheltenham, Gloucestershire, in western England. He was an organist and choirmaster at the local Gloucestershire church, but he had neuritis in his right hand, which kept...
...lassical composers, I applaud this man for his creativity, style, but most of all for the great contribution he has made to the music and film world.
Later in their careers, Gustav Holst and Ralph Vaughan Williams gained fame from their unique creativity and modern expression, but the young composers began their careers drawing on influences from family and music exposures. The pre-World War I compositions of Holst and Vaughan Williams evolve as the composers collect life experiences and these influences can be heard in this early music. Yet, the music of both young Holst and young Vaughan Williams also present very original aspects that presage the genius of their later works. Although both musicians were heavily influenced by their upbringings, popular composers, and even each other, it was those very same influences that ultimately led to their distinctive individualities.
The fact that his contemporaries gave him many awards proves that he was one of the greatest composers of his time. Still, the strongest point in proving his greatness is that fact that he was able to adapt to the changes around him. By his own admission, "...an entirely new public for music had grown up around the radio and phonograph. It made no sense to ignore them and to continue writing as if they did not exist. I felt that it was worth the effort to see if I couldn't say what I had to say in the simplest possible terms." His success in changing to the times speaks volumes about his ingenuity. Many people have an extremely difficult time dealing with
Gustav Holst once said that, “Failure is the most important part of an artist's training, and one you cannot afford to do without”. A composer’s life is often one of many peaks and valleys that, in the end, help to forge them into a world renowned composer whose legacy stands the test of time. The life of composer Gustav Holst is no exception to this. From an early age he had to overcome several physical and emotional hurdles. However, by the time of his death Holst had become a mainly self-taught composer, who learned from experience and experimentation, constantly searching for the right sound.
Classical music can be best summed by Mr. Dan Romano who said, “Music is the hardest kind of art. It doesn't hang up on a wall and wait to be stared at and enjoyed by passersby. It's communication. Its hours and hours being put into a work of art that may only last, in reality, for a few moments...but if done well and truly appreciated, it lasts in our hearts forever. That's art, speaking with your heart to the hearts of others.” Starting at a young age Johann Sebastian Bach and Ludwig van Beethoven have done just that with their musical compositions. Both musical composers changed the world of music and captivated the hearts of many. Their love of composing shared many similar traits, though their musical styles were much different.
The brass plays an ascending sequence, followed by pizzicato notes played by the strings, and an ascending and descending scale on the harp. Strings and oboe play the rhythmic melody, whilst the trumpet plays fanfares in syncopation. The oboe is then replaced by the flute. There is an ascending scale played by the strings, then the brass section repeats the string and oboe melody with cymbal crashes at cadence points. The orchestra then plays a loud melody with cymbal crashes and drum rolls. There is an interrupted cadence, followed by crescendo with cymbal crashes and a brass ostinato. The piece ends with a perfect cadence.
... then plays allegro passages of semi quavers, accompanied by timpani and descending scales in the woodwind. The clarinet, takes over the main melody whilst the cello accompanies with sequences. The French horn takes over the melody, accompanied by the strings. The flute briefly plays the melody before the cello plays octaves, accompanying the woodwind as they play a reprise of the DSCH theme and the timpani crashes. Repeating the themes in the first movement, the cello plays the DSCH motif followed by the "tate ta, tate ta" rhythm in the strings. The horn then plays the theme in augmentation, whilst the cello plays passages of ascending and descending scales, and the theme is heard again in the strings. The movement builds up with the motif appearing increasingly often in the woodwind and strings and climaxes with octaves by the soloist and a boom from the timpani.
...chestral introduction with an imperfect cadence. A strong rhythmic ¾ allegro passage, with sequences and descending scales is played by the orchestra, with timpani and cymbals. The music modulates, and a short, quiet woodwind passage is then alternated with an orchestral passage with dotted rhythms, creating a `terraced dynamics' effect. Part B begins with a major clarinet melody accompanied by pizzicato strings. A minor flute sequence follows, and is followed by a repetition of the oboe melody. A string sequence is then played, imitated by the oboe. There is a crescendo, then the rhythmic orchestral melody returns, alternated with a short flute passage. There are suspensions, descending scales and a crescendo, followed by a strong rhythmic passage with the timpani playing on the beat. Imperfect cadences are played, before the piece finishes with a perfect cadence.
The movements of Mars and Venus in “The Planets” by Gustav Holst are two seemingly opposite pieces, with completely different feelings, tempos, and instrumental arrangements. The characteristics of the two gods couldn’t be any more opposite, yet Holst decided to put them one after the other in his symphony. With Nietzsche's “Birth of Tragedy,” knowledge of the planet’s astrology (and possibly historical context) I will uncover how the two movements are more similar than anyone ever imagined.
Some opera authorities feel Wagner did more than any other composers to change music and drama. Even though his life and music produce passions unlike any other composer’s, his works are both hated and loved by some. However, even those who hate his work have to admit they are great.
Earth system refers to the earths interacting physical, biological, and chemical processes. The system consists of land, oceans, atmosphere and poles. The earth system has four spheres, including the geosphere, the hydrosphere, the atmosphere, and the biosphere. The geosphere refers to the solid parts of the earth system, including earth’s rocky crust, mantle, and the metallic core. Within the geosphere is the lithosphere, which only refers to the uppermost layers of solid earth. The uppermost layers of solid earth are the oceanic and continental crust rocks. Just below the crust is the mantle, which is composed mostly of magnesium and iron silicate minerals. The mantle accounts for about 2/3 of the