The hymn 'I Vow To Thee My Country' is sung to music from which of 'The Planets' by Gustav Holst?
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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"
"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 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"
"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"
"""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"
"hundred years to enable a live television broadcast of the orchestra, conducted by Constantin Silvestri, performing Wagner's ""Good Friday Music"" from ""Parsifal"". In the 1970s the orchestra appeared in Southern Television's ""Music in Camera"" series, conducted by Owain Arwel Hughes. The Bournemouth Symphony Orchestra recording of Gustav Holst's ""The Planets"", conducted by George Hurst, was used on the soundtrack of Nicolas Roeg's film ""The Man Who Fell to Earth"". The orchestra were featured in a short-lived series of programmes on the local commercial radio station 2CR. Members of the orchestra and Bournemouth Symphony Chorus recorded a jingle for the Yellow"
"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"
"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"
"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"
"written by American artist Richie Havens. It opens with an orchestral theme taken from the soundtrack to the 1958 Western film ""The Big Country"" by Jerome Moross. Anderson wrote ""The Prophet"" telling the story of a man, followed by many, who tells others to find and believe in themselves and not follow ""like sheep"". The song borrows a theme from ""Jupiter, the Bringer of Jollity"" from ""The Planets"" suite by English composer Gustav Holst and shows Anderson incorporating other themes from classical music, to which he listened regularly. ""Sweet Dreams"" was particularly well received by future Yes guitarist Trevor Rabin,"
"by the cellist Steven Isserlis. In 1976, she took legal action over a recording by Japanese electronic composer Isao Tomita of 'The Planets', calling it 'unworthy of my father's creation'. The record, originally issued on the RCA label, was withdrawn from sale, and vinyl copies have subsequently become very rare. In April 1979 Holst was present when the Queen Mother opened the new Britten–Pears School building in Snape. The building included a new library—the Gustav Holst Library—to which Holst had donated a large amount of material, including books which her father had used in his own teaching career. She had"
"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"
"January 1914 Holst attended a performance of Arnold Schoenberg's ""Five Pieces for Orchestra"", at the Queen's Hall, conducted by Schoenberg's pupil Edward Clark. Holst quickly acquired a copy of the score, the only Schoenberg score he ever owned. This influenced Holst at least to the degree that the working title of his own composition was ""Seven Pieces for Large Orchestra"". When composing ""The Planets"" Holst initially scored the work for four hands, two pianos, except for Neptune, which was scored for a single organ, as Holst believed that the sound of the piano was too percussive for a world as"
"band (later rewritten for orchestra), reflecting his impressions of the area, having lived across the river in Barnes for nearly forty years. It begins with a haunting musical depiction of the River Thames flowing underneath Hammersmith Bridge. Holst taught music at St Paul's Girls' School and composed many of his most famous works there, including his ""The Planets"" suite. A music room in the school is named after him. Hammersmith Hammersmith is a district of west London, England, located west-southwest of Charing Cross. It is the administrative centre of the London Borough of Hammersmith and Fulham, and identified in the"
"Fool"", which he began composing in 1918. In her spare time Joseph founded and ran a choir for Kensington nannies, which took part in local singing contests as the ""Linden Singers"". Joseph increased her teaching commitments by often deputising for Holst, both at James Allen's and at SPGS. She also continued in her role of the composer's amanuensis, and was invited to attend the private premiere of ""The Planets"", on 29 September 1918 at the Queen's Hall, where Adrian Boult conducted the Queen's Hall orchestra. She later wrote: ""From the moment of Mars ... to the last sound of Neptune,"
"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"
"the lower strings had to be replaced by a tuba to obtain an effective bass sound. With an anonymous string orchestra Holst recorded the ""St Paul's Suite"" and ""Country Song"" in 1925. Columbia's main rival, HMV, issued recordings of some of the same repertoire, with an unnamed orchestra conducted by Albert Coates. When electrical recording came in, with dramatically improved recording quality, Holst and the LSO re-recorded ""The Planets"" for Columbia in 1926. In the early LP era little of Holst's music was available on disc. Only six of his works are listed in the 1955 issue of ""The Record"
"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"
"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"
"Guide"": ""The Planets"" (recordings under Boult on HMV and Nixa, and another under Sir Malcolm Sargent on Decca); the ""Perfect Fool"" ballet music; the ""St Paul's Suite""; and three short choral pieces. In the stereo LP and CD eras numerous recordings of ""The Planets"" were issued, performed by orchestras and conductors from round the world. By the early years of the 21st century most of the major and many of the minor orchestral and choral works had been issued on disc. The 2008 issue of ""The Penguin Guide to Recorded Classical Music"" contained seven pages of listings of Holst's works"