Songs for the World Cup!

[Michael Alexander]

What songs are you listening to for the Rugby World Cup?

Ladysmith Black Mambazo - Shosholoza
The Llanelli Male Voice Choir - Land of My Fathers
The Corries - FLower of Scotland
Andrew Strong - Ielands Call
Rugby Songs - Swing Low

[Mike Stenson (RIP)]

World in Union.... brings back visions of 1995 every time its played 

[toonfandangl]

Michael and Mike! the music for this years 2011 and 1995 Rugby World Cup its from 'Gustav Holst's planet suite Jupiter bringer of jollity'

Although the original author of the song is unknown, Shosholoza is a traditional miner's song, originally sung by groups of men from the Ndebele ethnic group that travelled by steam train from their homes in Zimbabwe to work in South Africa's diamond and gold mines. The Ndebele live predominantly in Zimbabwe (formerly, Rhodesia) near its border with South Africa, and they can also be found in the northern border of South Africa. The song mixes Ndebele and Zulu words and is Zimbabwean in origin even though the two ethnic groups are very similar.[3] Some people argue that the song describes the journey to the mines in South Africa, while others say it describes the return to Zimbabwe. It is also sometimes sung "stimela si phume Rhodesia". According to cultural Researchers Booth and Nauright tell us that Zulu workers later took up the song to generate rhythm during group tasks and to alleviate boredom and stress.[5] The song was sang by working miners in time with the music beat as they were swinging their axes to dig. It was usually sang under hardship in 'call and response' style (one man singing a solo line and the rest of the group responding by copying him).[6] It was also sang by prisoners in call and response style using alto, soprano part divided by row. Former South African President Nelson Mandela describes how he sang Shosholoza as he worked during his imprisonment on Robben Island. He describes it as "a song that compares the apartheid struggle to the motion of an oncoming train" and goes on to explain that "the singing made the work lighter".

(1914-16) The Planets Op. 32
- 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

This piece is published by Faber.

During the 1910's, Holst was undoubtedly going through a period similar to a midlife crisis. His first large scale work, and opera called Sita failed to win a cash prize at a Ricordi composition competition and his other large works of the time, notably The Cloud Messenger and Beni Mora were premiered without great success. In March of 1913, Holst received an anonymous gift which enabled him to travel to Spain with Clifford Bax, the brother of the composer Arnold Bax (and later the librettist for Holst's opera The Wandering Scholar). Clifford Bax was an astrologer, and he and Holst became good friends, with Bax introducing him to the concepts of astrology.

Perhaps due to this friendship, Holst began to rediscover his childhood intrigue with theosophy. He had a book in his library called, "The Art of Synthesis," by Alan Leo. Leo was himself an astrologer and Theosophist who published various books on astrology, however if you look at "The Art of Synthesis," each chapter is labeled with a heading, offering a precursor to how The Planets was constructed. Alan Leo divided his book into chapters based on each planet, and described the astrological characteristics of them. In fact, "Neptune, the Mystic," is given the same title in both the book and the suite! Holst may have been introduced to Leo by George Mead, a Sanskrit scholar and a fellow member, along with Holst, of the Royal Asiatic Society. Mead and Leo were friends.

Holst called his piece "a series of mood pictures." In actuality, this helps lead into other influences for this work. Before Holst started to compose The Planets, both Arnold Schoenberg and Igor Stravinsky made trips to England and caused quite a stir. Schoenberg came to England and conducted his Five Orchestral Pieces Op. 18. Holst must have gone to this concert and been impressed, for Holst labeled the preliminary sketches of The Planets "Seven Orchestral Pieces." Around the same time, Stravinsky came to England and conducted his Le sacre du printemps. Holst must have noticed this unconventional way to use the orchestra, because in the first movement, "Mars," the blatant dissonance and unconventional meter seems to be riddled with the influence of Stravinsky.

Gustav Holst seemed to consider The Planets a progression of life. "Mars" perhaps serves as a rocky and tormenting beginning. In fact, some have called this movement the most devastaing piece of music ever written! "Venus" seems to provide an answer to "Mars," it's title as "the bringer of peace," helps aid that claim. "Mercury" can be thought of as the messenger between our world and the other worlds. Perhaps "Jupiter" represents the "prime" of life, even with the overplayed central melody, which was later arranged to the words of "I vow to thee, my country." "Saturn" can be viewed as indicative of Holst's later mature style, and indeed it is recorded that Holst preferred this movement to all others in the suite. Through "Saturn" it can be said that old age is not always peaceful and happy. The movement may display the ongoing struggle for life against the odd supernatural forces. This notion mat be somewhat outlandish, but the music seems to lend credence to this. "Saturn" is followed by "Uranus, the Magician," a quirky scherzo displaying a robust musical climax before the tranquility of the female choir in "Neptune" enchants the audience.

The piece displays that Holst was in touch with his musical contemporaries. There are obvious ideas borrowed from Schoenberg, Stravinsky, and Debussy (the quality of"Neptune" resembles earlier Debussy piano music.) Holst never wrote another piece like The Planets again. He hated its popularity. When people would ask for his autograph, he gave them a typed sheet of paper that stated that he didn't give out autographs. The public seemed to demand of him more music like The Planets, and his later music seemed to disappoint them. In fact, after writing the piece, he swore off his belief in astrology, though until the end of his life he cast his friends horoscopes. How ironic that the piece that made his name famous throughout the world brought him the least joy in the end.

The Planets was first performed in a private concert in 1918 with Adrian Boult conducting as a gift from Henry Balfour Gardiner, who was also responsible for the premieres of Holst's Two Eastern Pictures and The Cloud Messenger. The first complete performance of the piece was under Albert Coates in Queen's Hall in 1920.

[Michael Alexander]

As Always, Frank, A wealth of knowledge .... Thought Mike V might have had something to say on this topic....
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