"Holst lived for many years). The editor of the new (1926) edition of ""Songs of Praise"" was Holst's close friend Ralph Vaughan Williams, which may have provided the stimulus for Holst's co-operation in producing the hymn. Holst's daughter Imogen recorded that, at ""the time when he was asked to set these words to music, Holst was so over-worked and over-weary that he felt relieved to discover they 'fitted' the tune from ""Jupiter"""". <score>\relative f' { \time 3/4 \key c \major \partial 4 e8( g) a4. c8 b8. g16 c8( d) c4 b a8 b a4 g e2 } \addlyrics {"
"I Vow to Thee, My Country ""I Vow to Thee, My Country"" is a British patriotic hymn, created in 1921, when a poem by Sir Cecil Spring Rice was set to music by Gustav Holst. The origin of the hymn's text is a poem by diplomat Sir Cecil Spring Rice, written in 1908 or 1912, entitled """" (""The City of God"") or ""The Two Fatherlands"". The poem described how a Christian owes his loyalties to both his homeland and the heavenly kingdom. In 1908, Spring Rice was posted to the British Embassy in Stockholm. In 1912, he was appointed as"
"the title ""Thaxted"", after the town in Essex where Holst lived for many years, and it has also been used for other hymns, such as ""O God beyond all praising"" and ""We Praise You and Acknowledge You"" with lyrics by Rev. Stephen P. Starke. It is by far the best-known melody of the suite. ""I Vow to Thee, My Country"" was written between 1908 and 1918 by Sir Cecil Spring Rice and became known as a response to the human cost of World War I. The hymn was first performed in 1925 and quickly became a patriotic anthem. Although Holst"
"thy sons. </poem> First performed in 1921, it is still associated with Remembrance Day services all over the Commonwealth of Nations. I Vow to Thee, My Country ""I Vow to Thee, My Country"" is a British patriotic hymn, created in 1921, when a poem by Sir Cecil Spring Rice was set to music by Gustav Holst. The origin of the hymn's text is a poem by diplomat Sir Cecil Spring Rice, written in 1908 or 1912, entitled """" (""The City of God"") or ""The Two Fatherlands"". The poem described how a Christian owes his loyalties to both his homeland and"
"hymn ""I Vow to Thee, My Country""—despite Holst's full complicity. For ""Saturn"", Holst again used a previously-composed vocal piece, ""Dirge and Hymeneal"", as the basis for the movement, where repeated chords represent the relentless approach of old age. ""Uranus"", which follows, has elements of Berlioz's ""Symphonie fantastique"" and Dukas's ""The Sorcerer's Apprentice"", in its depiction of the magician who ""disappears in a whiff of smoke as the sonic impetus of the movement diminishes from fff to ppp in the space of a few bars"". ""Neptune"", the final movement, concludes with a wordless female chorus gradually receding, an effect which Warrack"
"likens to ""unresolved timelessness ... never ending, since space does not end, but drifting away into eternal silence"". Apart from his concession with ""I Vow to Thee...""', Holst insisted on the unity of the whole work, and opposed the performance of individual movements. Nevertheless, Imogen wrote that the piece had ""suffered from being quoted in snippets as background music"". During and after the composition of ""The Planets"", Holst wrote or arranged numerous vocal and choral works, many of them for the wartime Thaxted Whitsun Festivals, 1916–18. They include the ""Six Choral Folksongs"" of 1916, based on West Country tunes, of"
"Rufst du, mein Vaterland ""Rufst du, mein Vaterland"" is the former national anthem of Switzerland. It had semi-official status as the national anthem from the 1850s to 1961, when it was replaced by the Swiss Psalm. Its text was written in 1811 by Bernese philosophy professor Johann Rudolf Wyss. The tune of the anthem was the same as in ""God Save the King"" (1745), a tune which became widely adopted in Europe, first as the hymn of Denmark (1790), later also as that of Switzerland, and as that of the United States as ""My Country, 'Tis of Thee"" (1831). The"
"The Planets The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. From its premiere to the present day, the suite has been enduringly popular, influential, widely performed and frequently recorded. The work was not heard in a complete public performance, however, until some years after it was completed. Although there were four performances between September 1918 and October 1920, they were all either private (the first"
"had no such patriotic intentions when he originally composed the music, these adaptations have encouraged others to draw upon the score in similar ways throughout the 20th Century. The melody was also adapted and set to lyrics by Charlie Skarbek and titled ""World in Union"". The song is used as the theme song for the Rugby World Cup and appears in most television coverage and before matches. The Planets The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of"
"Gustav Holst Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite ""The Planets"", he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst to develop"
"Notes References Gustav Holst Gustav Theodore Holst (born Gustavus Theodore von Holst; 21 September 1874 – 25 May 1934) was an English composer, arranger and teacher. Best known for his orchestral suite ""The Planets"", he composed a large number of other works across a range of genres, although none achieved comparable success. His distinctive compositional style was the product of many influences, Richard Wagner and Richard Strauss being most crucial early in his development. The subsequent inspiration of the English folksong revival of the early 20th century, and the example of such rising modern composers as Maurice Ravel, led Holst"
"suite ""The Planets"". Written by the British composer Gustav Holst (1874–1934), and first performed in 1918, the framework of ""The Planets"" is based upon the astrological symbolism of the planets. Each of the seven movements of the suite is based upon a different planet, though the movements are not in the order of the planets from the Sun. The composer Colin Matthews wrote an eighth movement entitled ""Pluto, the Renewer"", first performed in 2000. In 1937, another British composer, Constant Lambert, wrote a ballet on astrological themes, called ""Horoscope"". In 1974, the New Zealand composer Edwin Carr wrote ""The Twelve"
"wrath. In 1912 Holst composed two psalm settings, in which he experimented with plainsong; the same year saw the enduringly popular ""St Paul's Suite"" (a ""gay but retrogressive"" piece according to Dickinson), and the failure of his large scale orchestral work ""Phantastes"". Holst conceived the idea of ""The Planets"" in 1913, partly as a result of his interest in astrology, and also from his determination, despite the failure of ""Phantastes"", to produce a large-scale orchestral work. The chosen format may have been influenced by Schoenberg's ""Fünf Orchesterstücke"", and shares something of the aesthetic, Matthews suggests, of Debussy's ""Nocturnes"" or ""La"
"in Frank Zappa. One of the new songs incorporated into the set (but never recorded by the band) was ""Make Your Stash"". ""[It] was later recorded by both Spectrum and Daddy Cool and the source for inspiration for Manfred Mann's Earth Band album that used Gustav Holst's ""Planets Suite"". ""Make Your Stash"" used one of the themes from that suite with my lyrics and bridge which Mick appropriated for Manfred Mann using new lyrics."" It is worth noting that Zappa also 'borrowed' a small section of Gustav Holst's The Planets - Jupiter movement on the track Invocation & Ritual Dance"
"This provides a large variation in each song's theme, feel, and over all sound. Some lyrics are more poetic, while others tell stories. For One Ring Zero's 2010 release, ""Planets"", the band composed thirteen new songs to represent the solar system and beyond. Tracks on the album include ""An Introduction To Planets,"" ""Mercury,"" ""Venus,"" ""Earth,"" ""Mars Part I,"" ""Mars Part II,"" ""Jupiter,"" ""63 Moons,"" ""Saturn,"" ""Uranus,"" ""Neptune,"" ""Pluto,"" and ""Exoplanets."" The concept was inspired by Gustav Holst's nearly century-old orchestral suite ""The Planets."" As Hearst and Camp put it, ""Seemed like maybe it was time to revisit our solar system"
"Planet, as well as backing music for the ""Quick Hits"" segment on the ""Sklarbro Country"" podcast. Mansfield also composed the brass tune ""Superstar Fanfare"", which was notably used (in several variations) by Channel Television in the Channel Islands, RTL plus's news programme 7 vor 7, Worldvision Enterprises, and by the Services Sound and Vision Corporation (SSVC) as a television ident jingle for British Forces TV in West Germany in the 1980s. The Astro Daters' ""Our Next Attraction"" was featured prominently in two films by Quentin Tarantino, ""Kill Bill"" and ""Death Proof"". A vocal version of Funky Fanfare entitled ""House of"
"student of philosophy, whose text is less explicitly martial than the German lyrics, beginning """" ""O free mountains / echo our calls / our songs of liberty"" and comparing the Rütli oath with a Republican Liberty Tree. Rufst du, mein Vaterland ""Rufst du, mein Vaterland"" is the former national anthem of Switzerland. It had semi-official status as the national anthem from the 1850s to 1961, when it was replaced by the Swiss Psalm. Its text was written in 1811 by Bernese philosophy professor Johann Rudolf Wyss. The tune of the anthem was the same as in ""God Save the King"""
"set to the tune of the ""Jupiter"" movement from Gustav Holst's ""The Planets"". <poem> Where Bishops' lifts its ivy'd tower and Clarke's long cloisters run. The College Oak stands spreading forth its branches to the sun. And here are joy and laughter and loyal friends as well; The Bulpadock rejoices in our efforts to excel. And whene'er we think on all these things wherever we may be, We shall raise our voices higher and sing of Trinity. Great God, your spirit fills this earth, your truth can make us free, O lift us up beyond ourselves to be all we"
"Helgoland (Bruckner) Helgoland, WAB 71, is a secular, patriotic cantata for male choir and orchestra, composed by Anton Bruckner in 1893. Since Bruckner did not complete the 9th symphony, ""Helgoland"" is his last complete work. One year earlier, Bruckner had already composed another, shorter patriotic work, ""Der deutsche Gesang"" (WAB 63), that was premiered at the ""First German Academic Song Festival"" in Salzburg in June 1892. ""Helgoland"" was composed in April 1893 for the Men's Choir of Vienna to celebrate its 50th birthday. The text was written by August Silberstein, who had already provided poems, which Bruckner set to music"
"""Jerusalem"" was adopted in 2010. Other English patriotic songs which have been proposed as possible national anthems of England include traditional songs such as ""Rose of England"", an English patriotic song written by Ivor Novello in 1937 for his musical ""Crest of the Wave"", and popularised by Vera Lynn. The flower to which the song's lyrics refer is one of England's national emblems, the Tudor Rose. The patriotic hymn ""I Vow To Thee, My Country"", composed by Gustav Holst and Cecil Spring-Rice, has long been adopted as a symbol of national pride and remembrance, and is often considered among potential"
"which ""Swansea Town"", with its ""sophisticated tone"", is deemed by Dickinson to be the most memorable. Holst downplayed such music as ""a limited form of art"" in which ""mannerisms are almost inevitable""; the composer Alan Gibbs, however, believes Holst's set at least equal to Vaughan Williams's ""Five English Folk Songs"" of 1913. Holst's first major work after ""The Planets"" was the ""Hymn of Jesus"", completed in 1917. The words are from a Gnostic text, the apocryphal Acts of St John, using a translation from the Greek which Holst prepared with assistance from Clifford Bax and Jane Joseph. Head comments on"
"in Germany just before the outbreak of the First World War) Toye, together with George Butterworth and the critic Edward J. Dent, helped Vaughan Williams reconstruct the work. Also in 1914, Toye introduced Butterworth's rhapsodies ""A Shropshire Lad"" and ""The Banks of Green Willow"" to London audiences. The night before the première of ""The Planets"", Toye dined with its composer, Gustav Holst, and the conductor Adrian Boult. Boult later recalled that Toye took exception to one bar in ""Neptune"", where the brass play chords of E minor and G minor together: ""I'm sorry, Gustav, but I can't help thinking that's"
"Der er et yndigt land ""Der er et yndigt land"" ( or ), commonly translated into English as ""There is a lovely country"", is one of the national anthems of Denmark. The lyrics were written in 1819 by Adam Oehlenschläger and bore the motto in (Horace: ""This corner of the earth smiles for me more than any other""). The music was composed in 1835 by Hans Ernst Krøyer. Later, Thomas Laub and Carl Nielsen each composed alternative melodies, but neither of them has gained widespread adoption, and today they are mostly unknown to the general population. When first published, the"
"concluded with an improvised performance he called ""Pluto, the Unpredictable"". The 26 March 1972 performance may be viewed on the Kultur DVD set. In 2000, the Hallé Orchestra commissioned the English composer Colin Matthews, an authority on Holst, to write a new eighth movement, which he called ""Pluto, the Renewer"". Dedicated to the late Imogen Holst, Gustav Holst's daughter, it was first performed in Manchester on 11 May 2000, with Kent Nagano conducting the Hallé Orchestra. Matthews also changed the ending of Neptune slightly so that movement would lead directly into Pluto. Matthews himself has stated his suspicion that, the"
"planet Pluto, giving it the name ""Pluto, The Renewer"". When Holst had written the original piece Pluto had not been discovered, and this addition therefore updated the suite and completed the eight movements that represented the planets of the solar system (Earth was never included) some 80 years after it was originally performed. In August 2006 Pluto was officially demoted to a dwarf planet, meaning that Holst's original work now more accurately represents the solar system. Some extremely famous 20th century operas have been left incomplete at their composers' deaths. Giacomo Puccini left the finale of ""Turandot"" unfinished and the"
"Das Lied von der Erde Das Lied von der Erde (""The Song of the Earth"") is a composition for two voices and orchestra written by the Austrian composer Gustav Mahler between 1908 and 1909. Described as a symphony when published, it comprises six songs for two singers who alternate movements. Mahler specified the two singers should be a tenor and an alto, or else a tenor and a baritone if an alto is not available. Mahler composed this work following the most painful period in his life, and the songs address themes such as those of living, parting and salvation."
"dedication notwithstanding, Imogen Holst ""would have been both amused and dismayed by the venture."" On 24 August 2006, the International Astronomical Union (IAU) defined what it means to be a ""planet"" within the Solar System. This definition excluded Pluto as a planet and added it as a member of the new category of ""dwarf planets"", along with Eris and Ceres. Following the IAU decision, Kenyon D. Wilson composed a trombone quintet piece titled ""Songs of Distant Earth"". The title comes from Arthur C. Clarke's novel of the same name. The composition contains five movements, each named after one of the"
"concerts, some of which were subsidised by his father, with the aims of giving work to orchestral players and bringing music to a wider audience. In 1918 Boult conducted the London Symphony Orchestra in a series of concerts that included important recent British works. Among them was the première of a revised version of Vaughan Williams's ""A London Symphony"", a performance which was ""rather spoilt by a Zeppelin raid"". His best-known première of this period was Holst's ""The Planets"". Boult conducted the first performance on 29 September 1918 to an invited audience of about 250. Holst later wrote on his"
"the world!"" In his soundproof room at SPGS he composed the ""Ode to Death"", a setting of a poem by Whitman, which according to Vaughan Williams is considered by many to be Holst's most beautiful choral work. Holst, in his forties, suddenly found himself in demand. The New York Philharmonic and Chicago Symphony Orchestra vied to be the first to play ""The Planets"" in the US. The success of that work was followed in 1920 by an enthusiastic reception for ""The Hymn of Jesus"", described in ""The Observer"" as ""one of the most brilliant and one of the most sincere"
"is also notably used in Gustav Mahler's Symphony No. 6, particularly in the 1st, 2nd and 4th movements, in his Symphony No. 8 and ""Das Lied von der Erde"". Karol Szymanowski featured it in his Symphony No. 3. Gustav Holst employed the instrument in his 1918 orchestral work ""The Planets"", particularly in the final movement, ""Neptune, the Mystic"". It also features prominently in Béla Bartók's 1936 ""Music for Strings, Percussion and Celesta"". George Gershwin included a celesta solo in the score to ""An American in Paris"". Ferde Grofe also wrote an extended cadenza for the instrument in the third movement"
"8, 7 from ""Cosmic Pulses"") 2007 (19 mins., 40 secs.). Work number 99. The specified colour is HKS 23 (fire-engine red [""Verkehrsrot""]) (, cover, I, and II). The manuscript score of ""Urantia"" is dated 21 February 2007, making it very likely the first of the ""Klang"" solo pieces with electronics to have been completed (, 46). It was premiered in the Queen Elizabeth Hall at the Southbank Centre, London, on 8 November 2008, by Kathinka Pasveer, soprano (prerecorded) and sound projection (, 21). Urantia is the name given to our earth in the ""Urantia Book"" (, 1), ""commonly referred to"
"the ten compositions. Other sci-fi inspired compositions Other sci-fi-related works composed by Wiest include ""Ice-Nine"", a 2009 composition scored for big band, drawn from Kurt Vonnegut's novel, ""Cat's Cradle."" ""New Cydoinia"", a 2010 big-band arrangement, is a programmatic representation of all of the theories and stories surrounding the enigmatic area on Mars known as Cydonia. ""A Night in Pidruid"", a 2006 composition scored for big band, is a programmatic and thematic development of characters and events in Robert Silverberg's ""Lord Valentine's Castle."" ""Blues From Space"", a 1984 composition scored for big band, is a novelty tune about an alien who"
"Wanke nicht, mein Vaterland Wanke nicht, mein Vaterland (""Do not falter, my fatherland""), also known as ""Schleswig-Holstein, meerumschlungen"" (""Schleswig-Holstein, embraced by the sea"") or ""Schleswig-Holstein-Lied"" is the unofficial anthem of Schleswig-Holstein. It was written in 1844 and presented at the ""Schleswiger Sängerfest"". The tune was written by Carl Gottlieb Bellmann (1772–1862). The text had originally been written by Berlin-based lawyer Karl Friedrich Straß (1803–1864) but rewritten by Matthäus Friedrich Chemnitz (1815–1870) shortly before the start of the ""Sängerfest"" in order to represent the then atmosphere in a better way. The song expresses the wish for a united, independent and German"