"privately for a few years, until it was set to music by Holst, to a tune he adapted from his ""Jupiter"" to fit the words of the poem. It was performed as a unison song with orchestra in the early 1920s, and it was finally published as a hymn in 1925/6 in the ""Songs of Praise"" hymnal (no. 188). It was included in later hymnals, including: In 1921, Gustav Holst adapted the music from a section of ""Jupiter"" from his suite ""The Planets"" to create a setting for the poem. The music was extended slightly to fit the final two"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"played by Liszt himself. Besides ""Les Aquilons"", Autran gave three further poems to Liszt. They were ""La Terre"" (""The Earth""), ""Les Flots"" (""The Floods"") and ""Les Astres"" (""The stars""). Liszt also set these poems. As a series, ""La Terre"", ""Les Aquilons"", ""Les Flots"" and ""Les Astres"" formed a cycle ""Les Quatre Élémens"" (""The Four Elements""). The title of the cycle was an allusion to the old Greek elements earth, air, water and fire. ""La Terre"" and ""Les Flots"" were composed in spring 1845 during Liszt's tour through Spain and Portugal. However, the precise dates are still not clear. The four"
"Holst taught). It was a comparatively intimate affair, attended by around 250 invited associates, 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."" A public concert was given in London under the auspices of the Royal Philharmonic Society on 27 February 1919, conducted by Boult. Five of the seven movements were played in the order Mars, Mercury, Saturn, Uranus, and Jupiter. It was Boult's decision not to play all seven"
"Die Harmonie der Welt Die Harmonie der Welt (""The Harmony of the World"") is an opera in five acts by Paul Hindemith. The German libretto was by the composer. The title of the opera is taken from ""Harmonices Mundi"" by the astronomer Johannes Kepler (1571–1630) who is the subject of the opera. Hindemith used the planetary system as a metaphor for his own musical arrangement of the chromatic scale. It was first performed on 11 August 1957, at the Prinzregententheater, Munich, conducted by the composer. A truncated monaural recording of the opera appeared on the Stradivarius label, but a complete"
"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"
"completely surpassed his other works. He was, however, partial to his own favourite movement, Saturn. The orchestral premiere of ""The Planets"" suite, conducted at Holst's request by Adrian Boult, was held at short notice on 29 September 1918, during the last weeks of World War I, in the Queen's Hall with the financial support of Holst's friend and fellow composer H. Balfour Gardiner. It was hastily rehearsed; the musicians of the Queen's Hall Orchestra first saw the complicated music only two hours before the performance, and the choir for Neptune was recruited from pupils from St Paul's Girls' School (where"
"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"
"Der Himmel lacht! Die Erde jubilieret, BWV 31 ' (Heaven laughs! Earth exults), ', is a church cantata by Johann Sebastian Bach for the first day of Easter. Bach composed the cantata in Weimar and first performed it on 21 April 1715. On 2 March 1714 Bach was appointed concertmaster of the Weimar court capelle of the co-reigning dukes Wilhelm Ernst and Ernst August of Saxe-Weimar. As concertmaster, he assumed the principal responsibility for composing new works, specifically cantatas for the "" (palace church), on a monthly schedule. Bach composed the cantata for Easter Sunday in 1715. The prescribed readings"
"The Planets: A Modern Allegory The Planets: A Modern Allegory is a radio play, written in verse, by Alfred Kreymborg. The first performance was on 6 June 1938 by the National Broadcasting Company at the Hayden Planetarium in New York City, and was directed by Thomas L. Riley. The play was originally set to the music of ""The Planets"" Suite by Gustav Holst; for the first performance the NBC Symphony Orchestra was conducted by H. Leopold Spitalny. The first broadcast was so enthusiastically received that it was repeated a few weeks later. The play describes the early history of the"
"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"
"Gershwin, a Russian themed show featuring Russian Sailor's Dance, Hymn to Red October, and Firebird Finale, a Big Band show featuring Artistry in Rhythm, Caravan, and Sing, Sing, Sing, a Space Movie Epic show featuring E.T. the Extra Terrestrial, Across the Stars from Star Wars Episode II: Attack of the Clones, and Star Trek music from the original series and The Next Generation, The Planets by Gustav Holst featuring Mars, Venus, and Jupiter, which received a division one rating at the TPSMEA marching contest, and, most recently, a show featuring the music from the French opera Carmen, which also received"
"in such a role. He formally changed ""von Holst"" to ""Holst"" by deed poll in September 1918. He was appointed as the YMCA's musical organiser for the Near East, based in Salonica. Holst was given a spectacular send-off. The conductor Adrian Boult recalled, ""Just before the Armistice, Gustav Holst burst into my office: 'Adrian, the YMCA are sending me to Salonica quite soon and Balfour Gardiner, bless his heart, has given me a parting present consisting of the Queen's Hall, full of the Queen's Hall Orchestra for the whole of a Sunday morning. So we're going to do ""The Planets"","
"other works, such as Ravel's ""Boléro"", Sergei Prokofiev's Romeo and Juliet Suites 1 and 2, Vaughan Williams' Symphonies No.6 and 9 and William Walton's ""Belshazzar's Feast"", and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked ""tenor tuba"", including Gustav Holst's ""The Planets"", and Richard Strauss's ""Ein Heldenleben"". The Wagner tuba, a modified member of the horn family, appears in Richard Wagner's cycle ""Der Ring des Nibelungen"" and several other works by Strauss, Béla Bartók, and others; it has a prominent role in"
"the seasons, the rhythms of the stars."" Stockhausen’s composition therefore is based on ""the cycles and rhythms of nature—of the seasons—with all of their characteristics, and to the planets, animals, and to the twelve main characters of human beings"" . ""Sirius"" was commissioned by the West German government to celebrate the United States bicentenary, and is dedicated to the ""American pioneers on earth and in space"". Composition was begun in 1975, and the first performance was given before an invited audience at the opening of the Albert Einstein Spacearium in Washington, D.C., on 15 July 1976, though only the ""summer"""
"hymn tune is by Matthias Greitter and appeared in 1524. Johann Walter set it for four parts. Heinrich Schütz set it as part of his Becker Psalter of all psalms in German. Johann Sebastian Bach used it as the basis for chorale preludes, and in cantatas such as his second cantata as ""Thomaskantor"" in Leipzig, ""Die Himmel erzählen die Ehre Gottes"", BWV 76, when he closed part I with the first stanza and part II with the last. The hymn was translated to English and has appeared in 20 hymnals. A. T. Russell translated it as ""May God unto us"
"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"
"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"
"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"
"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."
"""Jack Horkheimer: Star Gazer"" (originally titled ""Star Hustler"") seen on most PBS stations in the United States; in Japan, parts of his version of ""Rêverie"" were used for the opening and closing of Fuji Television's transmissions; in Spain, ""Arabesque No. 1"" was also used for the intro and the outro for the children TV program ""Planeta Imaginario"" (imaginary planet). Following the success of ""Snowflakes Are Dancing"", Tomita released a number of ""classically"" themed albums, including arrangements of: Igor Stravinsky's ""The Firebird"", Modest Mussorgsky's ""Pictures at an Exhibition"", and Gustav Holst's ""The Planets"". ""Holst: The Planets"" introduced a science fiction ""space"
"Fromm Foundation, the Minnesota Orchestra, Boston Cecilia, and Sequitur, among many others. His ""Sunday Songs"", two songs on texts of Emily Dickinson, were premiered by soprano Renée Fleming in 2000 at New York's Alice Tully Hall. Recent works include his ""Heaven and Earth"", settings of William Blake's works commissioned by the Marilyn Horne Foundation, which was premiered at Carnegie Hall's Weill Recital Hall in 2008, and the chamber symphony ""City of Shadows"", commissioned by the Deutsches Symphonie-Orchester Berlin and Kent Nagano as part of a portrait concert of Wheeler's work. His piano trio ""The Granite Coast"", commissioned by the Rockport"
"the final months of 1698 and numbered “XLI,” this treatise appears to have been the forty-first in a series hitherto not imagined by Charpentier scholars, a series of theoretical treatises that spans almost two decades, from the early 1680s to 1698. The prelude to his Te Deum, H. 146, a rondo, is the signature tune for the European Broadcasting Union, heard in the opening credits of Eurovision events. This theme was also the intro to ""The Olympiad"" films of Bud Greenspan. Charpentier's compositions were catalogued by Hugh Wiley Hitchcock in his ""Les œuvres de Marc-Antoine Charpentier: Catalogue Raisonné,"" (Paris: Picard,"
"and Vaughan Williams were licensed by Capitol). He was also admired as an interpreter of Beethoven, Brahms, Bruckner, Mahler, Strauss, and Wagner. He made a famous recording of Holst's ""The Planets"" with the Boston Symphony for Deutsche Grammophon, after learning the piece at the age of 70. Unusual for a conductor born in Europe, Steinberg was a sympathetic conductor of George Gershwin's music (he made Gershwin recordings for three different labels). His last Metropolitan Opera appearances were three performances of Wagner's ""Parsifal"" in April 1974. Although sometimes criticized for his unusual programming, Steinberg was a champion of certain lesser known"