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Holst – Mars & Jupitar, by Music College Student Brass Ensemble

Hosted by the Consul of the Tokyo Music Lovers Group
Culture & Entertainment
Event Cover Photo
Took place 2 months ago
Sat 09 Sep 14:30 - 19:00

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The Planets continue to dominate the pop-culture solar system, heavily influencing the work of Star Wars and Indiana Jones composer John Williams, who grew up a big Holst fan, and his influence can be heard in many of his film scores. “The Imperial March” uses elements from the opening movement, “Mars, the Bringer of War.” The movements weren’t written with any sort of astronomical description in mind, but instead were musical profiles of the Greek and Roman gods they were named after. Snippets of “Mars” can be heard in a lot of movie battle music, including in Gladiator.

Players:
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Access Map
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(Japanese Only)

Meeting Point: JR Ueno Station, Central Ticket Gate outside, co-exist with Ticket office.

Protected content Ueno, Taito-ku, Tokyo Protected content Memorial Hall

Program
- Gustav Holst, Planet, Mars & Jupitar
- Felix Mendelssohn, Overture for Winds (für Harmoniemusik)
- Richard Wagner, Tristan und Isolde – Prelude
- Claude Thomas Smith, Variations on a Hymn by Louis Bourgeois

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14:30 Meeting Time
14:45 Move to the concert hall
15:00 Door Open
15:30 Concert Start
17:15 Concert Close
17:45 Group Supper

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The Planets
From Wikipedia, the free encyclopedia

The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between Protected content 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 Protected content October Protected content , they were all either private (the first performance, in London) or incomplete (two others in London and one in Birmingham). The premiere was at the Queen's Hall on 29 September Protected content , conducted by Holst's friend Adrian Boult before an invited audience of about Protected content . The first complete public performance was finally given in London by Albert Coates conducting the London Symphony Orchestra on 15 November Protected content .

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James Levine - Chicago Symphony Orchestra

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Edward Gardner, National Youth Orchestra – Protected content

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The Overture for Winds Op. 24

Nocturno was composed in July of Protected content . This particular composition was for 1 flute, 2 clarinets, 2 oboes, 2 bassoons, 2 horns, 1 trumpet, and 1 English bass horn. When Mendelssohn went to get it published, he apparently could not find the original score. He re-scored it for 23 winds and percussion along with a four-hand piano score in November of Protected content . The Overture for Winds Op. 24 in C Major was not published until Protected content .

The Overture for Winds Op. 24 in C Major is listed as a Grade V on the Texas UIL Prescribed Music List. It begins slow and soft intro and moves into a melody in the clarinets that is passed through the different sections as it is repeated. It is not technically difficult, however subtle changes in dynamics and a flowing tempo can make blending and matching difficult. The conductor can focus on musicality by taking liberties here with ritardandos, but note lengths and matching style and releases are just as important.

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Tristan und Isolde
From Wikipedia, the free encyclopedia

Tristan und Isolde (Tristan and Isolde, or Tristan and Isolda, or Tristran and Ysolt) is an opera, or music drama, in three acts by Richard Wagnerto a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between Protected content Protected content premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June Protected content Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama, a plot or an action), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas.
Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation), as well as by Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension.
The opera was enormously influential among Western classical composers and provided direct inspiration to composers such as Gustav Mahler, Richard Strauss, Karol Szymanowski, Alban Berg, Arnold Schoenberg and Benjamin Britten. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagner's musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality and consider that it lays the groundwork for the direction of classical music in the 20th century. Both Wagner's libretto style and music were also profoundly influential on the Symbolist poets of the late 19th century and early 20th century.

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Daniel Barenboim, Bayreuth Festival

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H. Knappertsbusch, Vienna Philharmonic Orchestra

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Variations on a Hymn by Louis Bourgeois

Commissioned by and for the United States Marine Band, Col. John R. Bourgeois, conductor. Its premiere performance was June 14, Protected content the United States Marine Band, at the National Band Association Convention in Knoxville, TN. This work is based on “The Old One Hundredth” which is often used as the Doxology in religious services. This virtuoso setting will challenge all sections of the ensemble with technical demands. This work will be a showpiece for all of the ensemble and will provide an emotional high for all audiences.