Showing posts with label Vaughan Williams. Show all posts
Showing posts with label Vaughan Williams. Show all posts

September 21, 2020

20,000 vinyl LPs 241: Patrick Gleeson ~ Beyond The Sun: An Electronic Portrait of the Planets by Gustav Holst

~       

vinyl LP front cover detail
detail photo by Styrous®


Today is the birthday of Gustav Holst an English composer, arranger and teacher whose most famous work is the orchestral suite The Planets 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. The concept of the work is astrological rather than astronomical.              
 

Almost everybody has recorded The Planets! In addition to Holst himself, one of the great recordings was by Sir Adrian Boult with the BBC Symphony Orchestra; they were the first to perform the work on September 29, 1918. Leopold Stokowski with the NBC Symphony Orchestra did the first American recording (he was brilliant in the film, Fantasia (link below). Some of the great conductors include, Leonard Bernstein, Eugene Ormandy and Seiji Ozawa who, while conducting the San Francisco Symphony, advanced modern works and discarded the traditional formal tuxedo dress shirt for a white turtleneck.      
 



Hollywood as well had a shot at the planetary work: the great film composer, Bernard Herrmann, took a turn at it, André Previn and John Williams had their interpretations.                



vinyl LP back cover detail
detail photos by Styrous®
 


The world of electronics had to get in on the act as well. The first one was for the Moog (pronounced mogue) when Isao Tomita adapted The Planets for Moog and other synthesizers and electronic devices. The original LP release prompted legal action from Holst's estate. The composer's daughter, Imogen Holst, worked hard to prevent the recording being distributed in the UK. Patrick Gleeson recorded this electronic version in 1976 but titled it, Beyond the Sun.        


vinyl LP back cover detail
detail photo by Styrous®


The distinctive compositional style of Holst 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 and refine his individual style.    
 
HIs works were played frequently in the early years of the 20th century, but it was not until the international success of The Planets in the years immediately after the First World War that he became a well-known figure. A shy man, he did not welcome this fame and preferred to be left in peace to compose and teach. In his later years, his uncompromising, personal style of composition struck many music lovers as too austere, and his brief popularity declined. Nevertheless, he was a considerable influence on a number of younger English composers, including Edmund Rubbra, Michael Tippett and Benjamin Britten. Apart from The Planets and a handful of other works, his music was generally neglected until the 1980s, when recordings of much of his output became available.        
 
Holst died in London on 25 May 1934, at the age of 59, of heart failure following an operation on his ulcer. His ashes were interred at Chichester Cathedral in Sussex, close to the memorial to Thomas Weelkes, his favourite Tudor composer. Bishop George Bell gave the memorial oration at the funeral, and Vaughan Williams conducted music by Holst and himself.       



 

   
Tracklist:

Side 1:

A1 - Mars, The Bringer Of War  -  7:03
A2 - Venus, The Bringer Of Peace - 7:37
A3 - Mercury, The Winged Messenger - 3:04
A4 - Jupiter, The Bringer Of Jollity - 8:20

Side 2:

B1 - Saturn, The Bringer Of Old Age - 9:34
B2 - Uranus, The Magician - 6:39
B3 - Neptune, The Mystic - 6:51

Companies, etc.

    Manufactured By – Phonogram, Inc.
    Distributed By – Phonodisc, Inc.

Credits:

    Composed By – Gustav Holst
    Synthesizer [Eu Systems Polyphonic] – Julian Priester, Patrick Gleeson

Notes:

This album is dedicated with affection to Robert Moog and W. Carlos.

Barcode and Other Identifiers

    Matrix / Runout (Side A runout, etched): SRI-80000-A3 -A-
    Matrix / Runout (Side A runout, stamped): KENDUN
    Matrix / Runout (Side B runout, etched): SRI-80000-B-3
    Matrix / Runout (Side B runout, stamped): MASTERDISK
 
Patrick Gleeson ‎– Beyond The Sun: An Electronic Portrait Of Holst's The Planets
Label: Mercury ‎– SRI 80000
Format: Vinyl, LP, Album
Country: US
Released: 1976
Genre: Electronic
Style: Modern Classical

   
         
Viewfinder links:        
          
Leonard Bernstein             
Benjamin Britten       
Fantasia           
Partick Gleeson ~ The Planets         
Bernard Herrmann            
Gustav Holst         
Eugene Ormandy           
André Previn        
Maurice Ravel        
Ken Russell ~ The Planets          
Leopold Stokowski         
Richard Strauss      
Michael Tippett        
Isao Tomita ~ The Planets         
Richard Wagner            
Ralph Vaughan Williams         
John Williams          
        
Net links:        
        
The Planets Discography        
        
        
         
        
        
YouTube links:        
        
Patrick Gleeson ~ Beyond the Sun (complete album)       
Ken Russell ~ Gustav Holst: The Planets ~ Jupiter          
        
        
         
        
        
        
Styrous® ~ Monday, September 21, 2020       
       
















September 21, 2018

1,001 LaserDiscs 6: Gustav Holtz ~ The Planets

12" NTSC LaserDisc front cover
photo by Styrous®


Today, September 21 is the birthday of composer Gustav Holst, who was born in 1874. He is best known for his orchestral suite The Planets, which was 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.  

The premiere was at the Queen's Hall on 29 September 1918, conducted by Holst's friend Adrian Boult before an invited audience of about 250 people. The first complete public performance was finally given in London by Albert Coates conducting the London Symphony Orchestra on November 15, 1920.       

 
12" NTSC LaserDisc back cover
photo by Styrous®


This recording is performed by Isao Tomita who adapted The Planets for Moog and other synthesizers and electronic devices. Tomita, was a Japanese music-composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analog synthesizer arrangements.        


12" NTSC LaserDisc back cover detail
detail photo by Styrous®


Holst was the third generation of professional musicians in his family and he had hoped to become a pianist but was prevented by neuritis in his right arm. He pursued a career as a composer, studying at the Royal College of Music under Charles Villiers Stanford. Unable to support himself by his compositions, he played the trombone professionally and later became a teacher—a great one, according to his colleague Ralph Vaughan Williams.

He was a significant influence on a number of younger English composers, including Edmund Rubbra, Michael Tippett and Benjamin Britten. Apart from The Planets and a handful of other works, his music was generally neglected until the 1980s, when recordings of much of his output became available.                  

Vaughan Williams described Holst as "the greatest influence on my music", although Matthews asserts that each influenced the other equally. Among later composers, Michael Tippett is acknowledged as Holst's "most significant artistic successor", both in terms of compositional style and because Tippett, who succeeded Holst as director of music at Morley College, maintained the spirit of Holst's music there.

There are other English composers who are in debt to Holst, in particular William Walton and Benjamin Britten.       

12" NTSC LaserDisc back cover detail
detail photo by Styrous®


Holst conceived the idea of The Planets in 1913, partly as a result of his interest in astrology, and his determination to produce a large-scale orchestral work. The chosen format may have been influenced by Fünf Orchesterstücke, by Schoenberg, and shares something of the aesthetic of Nocturnes or La mer by Debussy.         
         

12" NTSC LaserDisc back cover detail
detail photo by Styrous®


Each planet is represented with a distinct character. In Mars, a persistent, uneven rhythmic cell consisting of five beats, combined with trumpet calls and harmonic dissonance provides battle music which is unique in its expression of violence and sheer terror, "... Holst's intention being to portray the reality of warfare rather than to glorify deeds of heroism".

John Williams used the melodies and instrumentation of Mars as the inspiration for his soundtrack for the Star Wars films (specifically The Imperial March)     

Hans Zimmer closely used the melodies, instrumentation and orchestration of Mars as the inspiration for his soundtrack for the movie Gladiator to the extent that a lawsuit for copyright infringement was filed by the Holst foundation           


12" NTSC LaserDisc back cover detail
detail photo by Styrous®


In Venus, Holst incorporated music from an abandoned vocal work, A Vigil of Pentecost, to provide the opening; the prevalent mood within the movement is of peaceful resignation and nostalgia. Mercury is dominated by uneven metres and rapid changes of theme, to represent the speedy flight of the winged messenger.        


12" NTSC LaserDisc back cover detail
detail photo by Styrous®


Holst adapted the melody of the central section of Jupiter in 1921 to fit the metre of a poem beginning I Vow to Thee, My Country. As a hymn tune it has 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.      


12" NTSC LaserDisc sleeve
photo by Styrous®


Holst died in London on 25 May 1934, at the age of 59, of heart failure following an operation on his ulcer. His ashes were interred at Chichester Cathedral in Sussex, close to the memorial to Thomas Weelkes, his favourite Tudor composer. Bishop George Bell gave the memorial oration at the funeral, and Vaughan Williams conducted music by Holst and himself.         

On 27 September 2009, after a weekend of concerts at Chichester Cathedral in memory of Holst, a new memorial was unveiled to mark the 75th anniversary of the composer's death. It is inscribed with words from the text of The Hymn of Jesus: "The heavenly spheres make music for us". In April 2011 a BBC television documentary, Holst: In the Bleak Midwinter, charted Holst's life with particular reference to his support for socialism and the cause of working people.      


12" NTSC LaserDisc side 2
One-Sided Extended Play
detail photo by Styrous®
      
Tracklist:

1     Opening Logos   
2     Main Title   
3     Blast Off   
4     Mars: The Bringer of War   
5     Venus: The Bringer of Love   
6     Interlude   
7     Mercury: The Winged Messenger   
8     Interlude   
9     Jupiter: The Bringer of Jollity   
10     Interlude   
11     Saturn: The Bringer of Age   
12     Interlude   
13     Uranus: The Magician   
14     Neptune: The Mystic   
15     End Credits   

Notes:

One Sided Extended Play.
Distributed Exclusively by Image Entertainment.
Made In USA
Copyright 1991 Don Barrett Productions, Inc.
Barcode and Other Identifiers

    Barcode: 01438184216

Tomita ‎– The Planets
Label: Malibu Video, Inc. ‎– ID8421DB
Format: Laserdisc, 12", Stereo, NTSC
Country: US
Released: 1991
Genre: Electronic, Classical
Style: Modern Classical

       
       
       
Viewfinder links:    
    
Benjamin Britten            
Gustav Holst        
Michael Tippett        
           
Net link:            
       
Gustav Holst website       
Gustav Holst Recordings        
    
YouTube links:    
        
The Planets ~          
         Mars, The Bringer of War         
         Venus, The Bringer of Peace 
         Mercury, The Winged Messenger 
         Jupiter the Bringer of Jollity & Saturn the Bringer of Old Age
         Uranus, The Magician           
         Neptune, The Mystic           

       
The LaserDisc, Gustav Holtz ~ The Planets, is for sale on eBay     



Styrous® ~ Friday, September 21, 2018       
















December 17, 2017

Arthur Fiedler ~ The "Pop" King

~     
Today, December 17, is the birthday of Arthur Fiedler who was the conductor of the Boston Pops Orchestra from 1930 to 1979, almost fifty years! That's quite a run!    

Fiedler was also associated with the San Francisco Pops Orchestra for 26 summers (beginning in 1949).     
     
      
    
       
        
       
photographer unknown
        
     

He was born in Boston, Massachusetts, on December 17, 1894. His father was an Austrian violinist who played in the Boston Symphony Orchestra, and his mother was a pianist. When his father retired in 1910 they moved to Vienna, Austria. The family soon moved again, to Berlin, where from 1911 to 1915 young Fiedler studied violin at the Royal Academy of Music (Hochschule für Musik Berlin) under Willy Hess. He returned to Boston at the beginning of World War I. In 1915 he joined the Boston Symphony Orchestra under Karl Muck as a violinist. He also worked as a pianist, organist, and percussionist.

In 1924 he formed the Boston Sinfonietta, a chamber orchestra, made up of Boston Symphony Orchestra members, of which he was the conductor; its aim was to bring greater variety to the music heard both in Boston and throughout the surrounding areas. This group was also known on records as the Arthur Fiedler Sinfonietta. In an effort to bring as much music to the public as possible, Fiedler initiated a campaign for a series of free outdoor concerts in Boston and his efforts were rewarded in 1929 with the first Esplanade Concerts on the Charles River. These concerts programmed American and European light music and featured musicians from the Boston Symphony Orchestra: they were so successful that Fiedler was appointed the eighteenth conductor of the Boston Pops in 1930.    

Fiedler was one of the most successful recording artists of the twentieth century, with his recordings for RCA selling in excess of fifty million copies. He made his first recordings with the Boston Pops Orchestra in 1935, and together they continued to turn out best-selling records until his death: their account of the Jacob Gade song, Jealousy, was the first recording by a symphony orchestra to sell over one million copies.   

Many albums were made for RCA as part of the company’s Living Stereo series, and their excellent technical qualities, combined with Fiedler’s unique style in this repertoire, have ensured that many of these recordings have remained in the catalogue. Fiedler’s discography (link below) with the Boston Pops is so vast and so stylish that it is difficult to highlight specific recordings above others. Nonetheless among the best are the coupling of Gaîté Parisienne by Offenbach with La Boutique Fantasque by Rossini; Classics for Children, which includes Petr and the Wolf by Prokofiev, and The Carnival of the Animals by Saint-Saëns; Fiedler on the Roof, a compilation of hits from several of the most successful major Broadway musicals; and Boston Tea Party which includes shorter pieces by composers as varied as Balfe, Nicolai and Vaughan Williams. A good example of Fiedler’s way with popular tunes may be heard in the album Peace, Love and Pops, a collection of some of the most popular songs of the 1960s and 1970s.  

The musicians in the Pops Orchestra didn’t so much speak to Fiedler as bicker, according to his daughter Johanna, in her 1994 tell-all Arthur Fiedler, Papa, the Pops and Me (link below). Although the conductor who made the Boston Pops world famous seemed a cheery, red-cheeked Santa Claus in his last years before the public, here he behaves nastily to his family, to his underlings in the orchestra and to unsuspecting fans who get in his way. According to his daughter, he was a womanizing husband, a neglectful parent and a self-deceiving alcoholic.        


 Johanna Fiedler - 1994
photo by Janet Knott/ Globe Staff


She described the musicians, members of the Boston Symphony Orchestra, as openly contemptuous of her father. They despised the light music he loved. They were incensed they had to sing “Yeah, yeah, yeah” when he programmed the Beatles song, I Want To Hold Your Hand. His signature piece, Stars and Stripes Forever, was one of their least favorites. Sometimes the musicians would toss their music in the air at the end of a piece they didn’t like. Fiedler would respond by tossing his score higher. The musicians would retaliate and the stage would be littered with sheet music. Fiedler hated what he viewed as the musicians’ elitism. “This damned snobbism is the thing I’ve been trying to fight all my life, every chance I get,” he once said.          

He was associated with the San Francisco Pops Orchestra (1812 link below) for 26 summers (beginning in 1949), and conducted many other orchestras throughout the world. He was a featured conductor on several of NBC's The Standard Hour programs in 1950 and 1951, conducting the San Francisco Symphony in the War Memorial Opera House; the performances were preserved on transcription discs and later released on audio cassette.        

I remember going to the Civic Center Auditorium (now called the Bill Graham Civic Auditorium) on Grove Street in San Francisco in the late fifties and early sixties to hear his "Pop" concerts (link below).  

Among his many interests (which included coast guarding), Fiedler was a keen observer of fires, and on the occasion of his seventy-fifth birthday his son Peter presented him with a surprise gift on behalf of his whole family: a full-size fire engine! He was witness to the devastating Cocoanut Grove fire in Boston in 1942 (link below).      

Arthur Fiedler died on July 10, 1979 after having been in failing health for some time. During the previous winter, he suffered a stroke that temporarily left him unable to speak, but he quickly recovered and in May conducted a concert to celebrate his 50th anniversary as conductor of the Pops. A few days later, he had a mild heart attack after another performance. He collapsed while studying music scores in his Brookline, Massachusetts home and suffered cardiac arrest. After his death, Boston named a footbridge over Storrow Drive after him and honored him with a stylized, oversized bust of him near the Charles River Esplanade.    




This area is home of the free concert series that continues through the present day. Composer John Williams succeeded Fiedler as the orchestra's nineteenth director.








Viewfinder links:       
                 
Arthur Fiedler articles/mentions       
Pyotr Ilyich Tchaikovsky ~ 1812 Overture        
Tchaikovsky ~ 1812 Overture (Antal Dorati)
John Williams ~ A Soundtrack King             
                
Net links:       
                
Discography           
PBS ~ Arthur Fiedler: Evening at the Pops             
NY Times - You're the Pops ~ Arthur Fiedler Papa, the Pops and Me       
                
YouTube links:       
                
Arthur Fiedler & the Boston Pops     
       
                   
             

                        
date & photographer unknown






Styrous® ~ Sunday, December 17, 2017