Gustav Holst: First Suite in E Flat Op. 28 No. 1: Concert Band

This is the first time that a version of Gustav Holst's The Planets for solo Piano has been published. In this glorious publication the emotional rollercoaster that is this seven-movement orchestralsuite can be played on a single Piano with those crashing chords and textural melodies sounding just fantastic on the solo keys. Originally scored for two pianos and four hands this epic orchestral workcontinues to astound and astonish audiences around the world even a century after Holst begun work on the first movement Mars the Bringer of War. This volume allows the solo pianist to emulate those gloriousmelodies wonderful harmonies and dynamic rhythms bringing the wonder of The Planets to the keys. This unique arrangement of The Planets reduces the entire orchestra tojust a solo Piano with some fingering hints throughout. The lovely engraving is an absolute pleasure to read from and the sound of those thunderous rhythms and sweet melodies sounds absolutely brilliant coming from the purityand clarity of a solo Piano. With all seven movements included in this The Planets sheet music you'll be able to learn Mars Venus Mercury Jupiter Saturn Uranus and Neptune in theentire work that's sometimes thunderous occasionally calm often bombastic but always beautiful. With the full-colour astrophotography of the cover the detailed accurate and clear engraving and theinherent uniqueness of such an arrangement befits the timeless and enduring achievement of a work like this. The compositional history and musical qualities of The Planets are fascinating and the lengthyintroduction details the rhythms the harmonies and the personality that Holst injected into his work so you can learn about this glorious work before delving into the stunning arrangement of each of the seven

Gustav Holst has earned a place among the most revered of late 19th and early 20th century composers and is best known for his enduring Orchestral suite The Planets.But before that great work in his use of Englsh folksongs Gnostic texts and these Vedic hymns one can discern Holst’s search for a compositional Voice beyond the constraints of the European canon in the early 1900’s. Some see composition of the Vedic Hymns as a turning point in Holst’scompositional life. The quality is not completely consistent and Holst remained true to his Western musical inheritance for the most part in setting them but as art songs they are deeply felt and moving to hear.The nine songsare scored for mezzo-Soprano or baritone Voice. The texts are taken from the Rigveda one of the four sacred texts of Hinduism and the oldest religious text in the world.The first set of three comprises Ushas Varuna and Maruts or Dawn Sky and Stormclouds respectively. The second includes Indra (God of Storm and Battle) Varuna II (the Waters) and Song of the Frogs. The third group moves into the human sphere with Vac (Speech) Creation and Faith.

One of Holst's most under-appreciated works Ode To Death (Op. 38) was written in 1919 in response to the First World War and mourned his friends who had died in that conflict. Scored for SATB Chorus and Orchestra it is a setting of the elegiac poem When Lilacs Last in the Dooryard Bloom'd by Walt Whitman. Gustav Holst (1874-1934) was an English composer and teacher. Having studied under Stanford and Parry he became a close friend of Vaughan Williams they would often critique each other’s work and influenced composers such as Tippet and Britten. He is best remembered for his Planets suite.

A Centenary Tribute to Holst's First Suite in Eb-En 1909 Gustav Holst composa une œuvre audacieuse et novatrice la Première Suite en Mib Majeur op. 28 n°1 (First Suite in Eb major Op. 28 No. 1) une suite exclusivement écrite pour instruments à vent. À l?occasion du centenaire de cette pièce devenue un classique du répertoire pour Orchestre d?Harmonie Jacob de Haan a composé la Memorial Suite en Ut mineur. Cette composition en quatre mouvements fait référence aux qualités stylistiques de l?œuvre de Holst tout en s?appuyant sur le langage sonore et l?écriture caractéristiques du style de Jacob de Haan. Le résultat est original.Comme Gustav Holst Jacob de Haan a choisi d?ouvrir sasuite avec une chaconne une forme de variation contrapuntique (à l?origine une danse espagnole à trois temps) dans laquelle un thème revient de façon récurrente accompagné à chaque fois par un nouveau contre-chant. Ce thème ostinato est utilisé de différentes manières tout au long des quatre mouvements assurant ainsi l?unité de l?œuvre. Le second mouvement est un scherzo. Par sa progression et son caractère il s?apparente à l?intermezzo central de la suite de Holst. Le troisième mouvement Song Without Words (Chanson sans paroles) porte le même titre que le second mouvement de la Deuxième Suite en Fa op. 28 n° 2 (Second Suite in F Op. 28 No. 1) composée par Holst en 1911. À mi-chemin de ce mouvement très expressif apparaît un solo de saxophone alto. Jacob de Haan conclut son œuvre par une Marche comme le fit jadis Gustav Holst.

Using excerpts from the first and third movements but still maintaining the formal and harmonic integrity of the original this adaptation allows even middle school players to experience the unforgettable themes from Holstsmasterwork. Also theMarch movement is very effective when performed by itself. Dur: 4:45 (Grade 2 – Hal Leonard MusicWorks series)

Par HOLST GUSTAV. From the ominous, relentless march of 'Mars, Bringer of War' to the ethereal high-string sonorities of 'Venus, the Bringer of Peace, ' this spectacular symphonic suite established Holst 's international reputation as one of the most popular and important modern British composers. First performed in 1918, it remains a staple of the Orchestral repertoire./ Répertoire / Partition de Poche

Les plus grandes 'uvres classiques pour Piano...pleine de vitalité ! / Classique / Partition /