A Bringer of Jollity

My final piece of the semester is one which, since I was very young, has been an absolute favorite of mine.  Gustav Holst composed his The Planets suite during WWI (they premiered in 1919), and perhaps the most recognized movement of this suite is the third, entitled, “Jupiter, the Bringer of Jollity”.  And that is exactly what this piece does.  It contains four masterful melodies which are vastly contrasting but which all share a commonality of bringing immense joy to whomever listens to this wonderful piece.

Holst begins this movement with an extremely intricate string line, followed by the introduction of the first melody with the bombastic brass section at 0:04.  This theme (I’ll call it A) is repeated numerous times throughout this piece, so don’t forget what it sounds like! This particular melody is quick, syncopated, and full of energy.  Just the kind of opening a “bringer of jollity” should have.

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).  This second melody (I’ll call it B) is slightly slower, but does not lose any energy. The bouncing bass line in the low strings keeps the melody upbeat and creates the sound of a merry march.

Once again, just as we’re getting to used to this theme, we suddenly realize that Holst has brought us back to the A melody again (around 1:20).  This time, the melody is a tad quieter and sounds almost sneaky.

But don’t expect Holst to let us stay here for long, because at 1:36 we’re thrown into the vastly differing third melody (I’ll call it C).  This theme is in an entirely new time signature, with the measures grouped into beats of three instead of four.  This section begins with the horns carrying the melody, as the string section pounds out the downbeats of each measure. The upper strings then take the melody around 1:44 (as the horn players begin an intricate accompaniment line). The third iteration of the melody begins at 1:52, and I’d probably say this one is my favorite.  Something about the tambourine part really adds to the fun.

The C melody is passed around numerous more times until 2:24 when a sudden burst of a chord ends the section.  A short fanfare section leads into a brief restatement of the A theme.

At 2:53, however, perhaps the most iconic portion of this piece begins.  This short sequence of music was not based on any particular hymn, but Holst wished to create a section which would embody the spirit of an old English folk hymn.  His original composition of a hymn-sounding melody was so successful, that the public decided it should be made into an actual hymn.  This hymn now goes by the name Thaxted, after the town where Holst lived most of his life.

This section is simply beautiful, and perfectly exemplifies the majesty and joy of exploring the English countryside.  It is an exceedingly moving melody, especially when it intensifies at 4:05 and again at 4:18.  In my opinion, it is just remarkable.

But as is always the case with Holst, just when we get pulled into the current theme, we’re thrown into a new one.  The hymn section is followed by a quiet restatement of the A melody in the high woodwinds ( beginning at 4:41), followed by a powerful restatement in the full brass section (at 5:03). The trumpets enter into a repeated three note run at around 5:36.

This pattern abruptly ends at  5:41 with the reintroduction of the B melody.  This section starts a little slow but it gains tempo as it proceeds.  Holst then smoothly slides us back into the A theme around 6:03.  This iteration is restrained, but energetic.

At 6:20 we’re brought back to the C melody. The tambourine comes in earlier this time (around 6:28), much to my personal enjoyment.  The melody increases in speed and complexity as more and more lines of music begin playing at once, and then fluidly enters into a slowed down section featuring an allusion to the Thaxted theme in the low brass at 6:56, followed by the trumpets at 7:05. Both of these lines are accompanied by beautiful flourishes in the flutes and other high woodwinds.

This melody builds in intensity up to 7:16 when a melody very similar to the opening lines brings the piece to a close.  A fanfare of the brass calls out triumphantly as the piece ends with a victorious orchestral hit.

Holst’s “Jupiter” is world famous and is loved by many musicians and non-musicians alike, so I can think of no better piece to end the semester with.  The excitement and jollity conveyed by this piece demonstrate the great joy that can come with an understanding of classical music, and shows how much enjoyment can be had simply by taking note of the orchestral music that surrounds you.