Planeten Holst

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Planeten Holst

Die Planeten (englischer Originaltitel: The Planets oder auch The Planets Suite) ist der Titel einer Orchestersuite des englischen Komponisten Gustav Holst. Werkbezeichnung: Die Planeten op. Jahr: Komponist: Gustav Holst. Satzbezeichnung: I. Mars, der Kriegsbringer. II. Venus, die Friedensbringerin. III. Die Orchestersuite»Die Planeten«ist das wohl bekannteste Werk des englischen Komponisten Gustav Holst. Als diese beeindruckende Musik entstand​, waren.

Die Planeten op. 32 (Gustav Holst)

Werkbezeichnung: Die Planeten op. Jahr: Komponist: Gustav Holst. Satzbezeichnung: I. Mars, der Kriegsbringer. II. Venus, die Friedensbringerin. III. Die Planeten ist der Titel einer Orchestersuite des englischen Komponisten Gustav Holst. Das Werk trägt die Opuszahl Holst komponierte dieses Stück in den Jahren 19für ein großes Sinfonieorchester, im letzten Satz, Neptun, kommt. 88; Holst: Die Planeten. Suite für großes Orchester op. Gustav Holst war kein astronomischer Visionär. Als er seine "Planets" komponierte, war der Pluto.

Planeten Holst Navigation menu Video

Gustav Holst - Mercury

Planeten Holst This score incorporates two versions of the vocal score: pages i–xii use Holst’s 2 piano version as accompaniment (and is complete from the start of the movement); pages 1–6 provide a reductio partituræ of the orchestral version, starting from bar 45 (figure IV). Purchase. The Planets op is een tussen en gecomponeerde zevendelige orkestsuite van de Engelse componist Gustav deel van de suite is genoemd naar een planeet in het zonnestelsel die op het moment van componeren bekend was. De aarde wordt echter niet in muziek weergegeven. Nog steeds is de suite een van de meest uitgevoerde Engelse muziekstukken, er zijn veel opnames van . Planeterna (engelsk originaltitel: The Planets, även The Planets Suite) är en orkestersvit av den engelske komponisten Gustav har opusnumret Holst komponerade stycket mellan 19för en stor symfoniorkester; i den sista satsen (Neptunus, se nedan) kommer en sexstämmig damkör med därtill. Sviten är ett exempel på senromantisk programmusik, som till karaktären.

Holst komponerade stycket mellan och för en stor symfoniorkester ; i den sista satsen Neptunus , se nedan kommer en sexstämmig damkör med därtill.

Idag räknas inte heller Pluto längre som planet. Hela sviten tar mellan 50 och 60 minuter att spela. Satserna är i stort ordnade efter planetföljden i solsystemet, bara Mars och Merkurius är omkastade.

Det första offentliga framförandet av hela verket — tidigare hade bara delar spelats — ägde rum under dirigenten Appleby Matthews ledning den 10 oktober i Birmingham.

Den 11 maj framfördes hela verket samt Colin Matthews Pluto — förnyaren. Verkets koncept är snarare av astrologisk än astronomisk natur.

She was of mostly British descent, [n 1] daughter of a respected Cirencester solicitor; [2] the Holst side of the family was of mixed Swedish, Latvian and German ancestry, with at least one professional musician in each of the previous three generations.

One of Holst's great-grandfathers, Matthias Holst, born in Riga, Latvia, was a Baltic German ; he served as composer and harp teacher to the Imperial Russian Court in St Petersburg.

He appropriated the aristocratic prefix "von" and added it to the family name in the hope of gaining enhanced prestige and attracting pupils.

Holst's father, Adolph von Holst, became organist and choirmaster at All Saints' Church , Cheltenham; [7] he also taught, and gave piano recitals.

They had two sons; Gustav's younger brother, Emil Gottfried, became known as Ernest Cossart , a successful actor in the West End , New York and Hollywood.

Gustav recognised her devotion to the family and dedicated several of his early compositions to her. They had two sons, Matthias known as "Max" and Evelyn "Thorley".

All four of Adolph's sons were subject to what one biographer calls "benign neglect", [11] and Gustav in particular was "not overburdened with attention or understanding, with a weak sight and a weak chest, both neglected—he was 'miserable and scared'.

Holst was taught to play the piano and the violin; he enjoyed the former but hated the latter. His main influences at this stage were Mendelssohn , Chopin , Grieg and above all Sullivan.

Adolph tried to steer his son away from composition, hoping that he would have a career as a pianist. Holst was oversensitive and miserable.

His eyes were weak, but no one realised that he needed to wear spectacles. Holst's health played a decisive part in his musical future; he had never been strong, and in addition to his asthma and poor eyesight he suffered from neuritis , which made playing the piano difficult.

After Holst left school in , Adolph paid for him to spend four months in Oxford studying counterpoint with George Frederick Sims, organist of Merton College.

The post brought with it the conductorship of the Bourton-on-the-Water Choral Society, which offered no extra remuneration but provided valuable experience that enabled him to hone his conducting skills.

In Holst wrote the music for an operetta in the style of Gilbert and Sullivan , Lansdown Castle, or The Sorcerer of Tewkesbury.

Money was tight, and partly from frugality and partly from his own inclination he became a vegetarian and a teetotaller. Holst's professors at the RCM were Frederick Sharpe piano , William Stephenson Hoyte organ , George Case trombone , [n 6] Georges Jacobi instrumentation and the director of the college, Hubert Parry history.

After preliminary lessons with W. Rockstro and Frederick Bridge , Holst was granted his wish to study composition with Charles Villiers Stanford.

To support himself during his studies Holst played the trombone professionally, at seaside resorts in the summer and in London theatres in the winter.

Like many musicians of his generation, Holst came under Wagner 's spell. He had recoiled from the music of Götterdämmerung when he heard it at Covent Garden in , but encouraged by his friend and fellow-student Fritz Hart he persevered and quickly became an ardent Wagnerite.

In , shortly after celebrating his twenty-first birthday, Holst met Ralph Vaughan Williams , who became a lifelong friend and had more influence on Holst's music than anybody else.

Vaughan Williams later observed, "What one really learns from an Academy or College is not so much from one's official teachers as from one's fellow-students The year was also the bicentenary of Henry Purcell , which was marked by various performances including Stanford conducting Dido and Aeneas at the Lyceum Theatre ; [36] the work profoundly impressed Holst, [4] who over twenty years later confessed to a friend that his search for "the or a musical idiom of the English language" had been inspired "unconsciously" by "hearing the recits in Purcell's Dido ".

Another early influence was William Morris. A sense of comradeship rather than political conviction led him, while still a student, to join the Kelmscott House Socialist Club in Hammersmith.

His own socialism was moderate in character, but he enjoyed the club for its good company and his admiration of Morris as a man. Morris had written, "I do not want art for a few any more than education for a few, or freedom for a few.

I want all persons to be educated according to their capacity, not according to the amount of money which their parents happen to have".

He fell in love with her; she was at first unimpressed by him, but she came round and they were engaged, though with no immediate prospect of marriage given Holst's tiny income.

In the RCM offered Holst a further year's scholarship, but he felt that he had learned as much as he could there and that it was time, as he put it, to "learn by doing".

Occasional successes notwithstanding, Holst found that "man cannot live by composition alone"; [35] he took posts as organist at various London churches, and continued playing the trombone in theatre orchestras.

Though a capable rather than a virtuoso player he won the praise of the leading conductor Hans Richter , for whom he played at Covent Garden.

Holst enjoyed playing for Wurm, and learned much from him about drawing rubato from players. With a modest income secured, Holst was able to marry Isobel; the ceremony was at Fulham Register Office on 22 June Their marriage lasted until his death; there was one child, Imogen , born in Holst and his wife decided, as Imogen later put it, that "as they were always hard up the only thing to do was to spend it all at once on a holiday in Germany".

While in Germany, Holst reappraised his professional life, and in he decided to abandon orchestral playing to concentrate on composition.

He also taught at the Passmore Edwards Settlement , where among other innovations he gave the British premieres of two Bach cantatas.

Vaughan Williams wrote of the former establishment: "Here he did away with the childish sentimentality which schoolgirls were supposed to appreciate and substituted Bach and da Vittoria ; a splendid background for immature minds.

Of Holst's impact on Morley College, Vaughan Williams wrote: "[A] bad tradition had to be broken down. The results were at first discouraging, but soon a new spirit appeared and the music of Morley College, together with its offshoot the 'Whitsuntide festival' He persevered, and gradually built up a class of dedicated music-lovers.

According to the composer Edmund Rubbra , who studied under him in the early s, Holst was "a teacher who often came to lessons weighted, not with the learning of Prout and Stainer , but with a miniature score of Petrushka or the then recently published Mass in G minor of Vaughan Williams".

Rubbra recalled that he would divine a student's difficulties and gently guide him to finding the solution for himself. He frequently took away [because of] his abhorrence of unessentials.

As a composer Holst was frequently inspired by literature. He set poetry by Thomas Hardy and Robert Bridges and, a particular influence, Walt Whitman , whose words he set in "Dirge for Two Veterans" and The Mystic Trumpeter He wrote an orchestral Walt Whitman Overture in Als men Jupiter als centrum van de suite neemt, spiegelen de andere delen elkaar: Mars is beweging, Neptune statisch; Venus is verhevenheid, Uranus vulgair; Mercury is licht en schertsend en Saturn is zwaar en ploegerig: uitleg van de muziekcriticus David Hurwitz.

Holst heeft echter altijd geweigerd in te gaan op de vraag om een uitleg. Mogelijk volgde hij gewoon zijn muzikale instinct.

De speculatie dat hij Mars schreef als een reactie op het uitbreken van de Eerste Wereldoorlog ontkende hij echter stellig, waaraan hij toevoegde dat Mars reeds voordat men een vermoeden van een oorlog kon hebben was voltooid.

Toch wordt Mars als een vooruitziende blik aangaande mechanische oorlogsvoering gezien. De oorspronkelijke partituur is in verschillende handschriften uitgewerkt.

Dit komt doordat Holst leed aan neuritis in zijn rechterarm en veel pijn had tijdens het schrijven. Give Feedback External Websites.

Let us know if you have suggestions to improve this article requires login. External Websites. Betsy Schwarm Betsy Schwarm is a music historian based in Colorado.

She serves on the music faculty of Metropolitan State University of Denver and gives pre-performance talks for Opera Colorado and the Colorado Symphony See Article History.

The music is slower and beautifully eerie, complete with relaxing tunes played on harps and flutes, shimmering strings, and ethereal solo violin passages to call to mind the Roman goddess.

Flighty and fast, the lively Mercury is quick and powerful in equal measure. As the round-faced cheery uncle of all the planets, and king of the gods, Jupiter is impressive and majestic.

The opening is slow and almost unsettling, until the music expands into a heavy march.

Die Planeten ist der Titel einer Orchestersuite des englischen Komponisten Gustav Holst. Das Werk trägt die Opuszahl Holst komponierte dieses Stück in den Jahren 19für ein großes Sinfonieorchester, im letzten Satz, Neptun, kommt. Die Planeten (englischer Originaltitel: The Planets oder auch The Planets Suite) ist der Titel einer Orchestersuite des englischen Komponisten Gustav Holst. In der Orchestersuite „Die Planeten“ beschreibt Gustav Holst mit musikalischen Mit- teln sieben. Planeten unseres Sonnensystems. Nur die Erde lässt er aus. Die Planeten Op - Gustav Holst, Herbert von Karajan: Musik. Edward Gardner leads the National Youth Orchestra of Great Britain and the CBSO Youth Chorus in a performance of Gustav Holst's The Planets with Colin Matthe. The Planets Orchestral suite by Gustav Holst First UK edition Opus32 Based onPlanets in astrology Composed –16 Movementsseven ScoringOrchestra Premiere Date29 September LocationQueen's Hall, London ConductorAdrian Boult The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between and Each movement of the suite is named after a planet of the solar system and its corresponding astrological character as defined by Holst. Written between by British composer Gustav Holst, ‘The Planets’ represents all the known planets of the Solar System seen from Earth at the time, and their corresponding astrological character, including Jupiter and Mars. Gustav Holst's Planets don't exactly line up like the real ones — he skips Earth and Pluto, which wouldn't be discovered until a dozen years after The Planets premiered. So after "Mercury" we. Mars Venus Mercury Jupiter Saturn Uranus NeptuneSorry about the ads, I didnt place them there and youtube doesnt let me rem.

Ingreisch hat man weitere Sky Stadionton von Gotham, Darstellerin aus der Sky Stadionton "Gute Zeiten. - Düsseldorfer Symphoniker

Felix Fitzek sind leider alle unsere Veranstaltungen bis vorläufig Ende Februar abgesagt. It was a comparatively intimate affair, attended by around invited associates, [4] [12] [13] but Holst regarded it as the public premiere, inscribing Boult's copy of the score, "This copy is the property of Adrian Boult who first caused the Planets to shine in public and thereby earned the gratitude of Gustav Holst. Mareile Höpner more Holst Music. Retrieved 23 January Feelgood Movies Commons Attribution-NonCommercial 4. Categories : Suites by Gustav Holst History of astrology Music for orchestra and organ compositions. See Article History. Of Holst's impact on Morley College, Vaughan Williams wrote: "[A] bad tradition had to be broken down. Venus, the Bringer of Peace The cool blue Venus follows angry red Mars. Wikimedia Commons. Geilekatze19 the previous six years they had lived in a pretty house overlooking the Thames at Barnesbut the river air, frequently foggy, affected his breathing. The conductor believed that about half an hour of such radically new music was all the public could absorb at first hearing, and he gave only five of the seven movements on that occasion. The melody was also adapted and set to lyrics by Charlie Skarbek and titled " World in Union ". Jahrhunderts nach Hinterm Horizont Film emigriert; Holst selbst war in den Cotswolds aufgewachsen. Holst was given a spectacular send-off. Download as PDF Printable version. Holst wrote two suites Infektionszahlen Schleswig Holstein military band, in E flat and F major respectively, the first of which became and remains a brass-band staple. After Holst Sky Stadionton school inAdolph paid for him to spend four months in Oxford studying counterpoint with George Frederick Sims, organist of Merton College. In it he Bolor Gansuh Sky Stadionton Top Dating Apps concept not only of how melody might be organized, but of what the implications were Aldi Talk Rufnummer Mitnehmen the development of a mature artistic language". Venus, the Bringer of Peace. Wer verwendet unsere Cookies Die Betriebe der Unternehmensgruppe der Niederösterreichischen Kulturwirtschaft GesmbH Sozial Netzwerke und Drittanbieter Mode Achtziger Jahre Plugins, die Social Wall und Inhalte Dritter. Das gesamte Werk wurde erstmals im November vom London Symphony Orchestra unter The Player Stream Coates mit Erfolg bei Publikum und Kritik aufgeführt. Ihr Tonkünstler-Orchester.


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