Gustav Holst (born September 21, 1874 Cheltenham, Gloucestershire, UK - di… Read Full Bio ↴Gustav Holst (born September 21, 1874 Cheltenham, Gloucestershire, UK - died May 25, 1934) was an English composer and a music teacher for over 20 years. Holst is most famous for his orchestral suite The Planets. Having studied at the Royal College of Music in London, his early work was influenced by Ravel, Grieg, Richard Strauss, and Ralph Vaughan Williams, but most of his music is highly original, with influences from Hindu spiritualism and English folk tunes. Holst's music is well known for unconventional use of metre and haunting melodies.
Gustav Holst wrote almost 200 catalogued compositions, including orchestral suites, operas, ballets, concertos, choral hymns, and songs. (See: selected works, below).
Holst became music master at St Paul's Girls' School in 1905 and also director of music at Morley College in 1907, continuing in both posts until retirement (as detailed below).
Holst died on May 25, 1934, after stomach surgery, at age 59. He was the brother of Hollywood actor Ernest Cossart, and father of the composer and conductor Imogen Holst, who wrote a biography of her father in 1938.
Name
He was originally named Gustavus Theodor von Holst but he dropped the von from his name in response to anti-German sentiment in Britain during World War I, making it official by deed poll in 1918.
Early life
He was born in 1874 in Cheltenham, Gloucestershire, England to a family of Swedish extraction (by way of Latvia and Russia), and was educated at Cheltenham Grammar School for Boys.
Holst's grandfather, Gustavus von Holst of Riga, Latvia, a composer of elegant harp music, moved to England, becoming a notable harp teacher. Holst's father Adolph Holst, an organist, pianist, and choirmaster, taught piano lessons and gave recitals; and his mother, Clara von Holst, who died when Gustav was eight, was a singer. As a frail child whose early recollections were musical, Holst had been taught to play piano and violin, and began composing when he was about twelve.
Holst's father was the organist at All Saints' Church in Pittville, and his childhood home is now a small museum, devoted partly to Holst, and partly to illustrating local domestic life of the mid-19th century.
Holst grew up in the world of Oscar Wilde, H. G. Wells, George Bernard Shaw, Doyle, Gauguin, Monet, Wagner, Tchaikovsky, and Puccini. Both he and his sister learned piano from an early age, but Holst, stricken with a nerve condition that affected the movement of his right hand in adolescence, gave up the piano for the trombone, which was less painful to play.
He attended the newly relocated Royal College of Music in London on a scholarship, studying with Charles V. Stanford, and there in 1895, he met fellow student and lifelong friend Ralph Vaughan Williams, whose own music was, for the most part, quite different from Holst’s, but whose praise for his work was abundant and who later shared an interest in Holst teaching the English vocal and choral tradition (folk song, madrigals, and church music).
Holst was influenced during these years by socialism, and attended lectures and speeches by George Bernard Shaw, with whom he shared a passion for vegetarianism, and by William Morris, both of whom were among the UK's most outspoken supporters of the socialist movement in the UK.
It was also during these years that Holst became interested in Hindu mysticism and spirituality, and this interest was to influence his later works, including Sita (1899–1906, a three-act opera based on an episode in the Ramayana), Savitri, a chamber opera based on a tale from the Mahabharata, and Hymns from the Rig Veda, in preparation for which he taught himself basic Sanskrit to avoid reliance on the ‘substandard’ translations of the day.
To earn a living in the era before he had a satisfactory income from his compositions, he played the trombone in the Carl Rosa Opera Company and in a popular orchestra called the 'White Viennese Band', conducted by Stanislas Wurm. The music was cheap and repetitive and not to Holst's liking, and he referred to this kind of work as 'worming' and regarded it as 'criminal'. Fortunately his need to 'worm' came to an end as his compositions became more successful, and his income was given stability by his teaching posts.
During these early years, he was influenced greatly by the poetry of Walt Whitman, as were many of his contemporaries, and set his words in The Mystic Trumpeter (1904). He also set to music poetry by Thomas Hardy and Robert Bridges.
Musical career
In 1905, Holst was appointed Director of Music at St Paul's Girls' School in Hammersmith, London, where he composed the successful and still popular St Paul's Suite for the school orchestra in 1913. In 1907, Holst also became director of music at Morley College. Those two leadership positions were the most important of his teaching posts, and he retained both posts until the end of his life.
During the first two decades of the 20th century, musical society as a whole, and Holst's friend Vaughan Williams in particular, became interested in old English folksongs, madrigal singers, and Tudor composers. Holst shared in his friend’s admiration for the simplicity and economy of these melodies, and their use in his compositions is one of his music’s most recognizable features.
Holst was an avid rambler. He walked extensively in Italy and France, and had covered nearly every path in England by the time of his death[citation needed]. He also travelled outside the bounds of Europe, heading to French-controlled Algeria in 1906 on doctor's orders as a treatment for asthma and the depression that crippled him after his submission failed to win the Ricordi Prize, a coveted award for composition. His travels in the Arab and Berber land, including an extensive bicycle tour of the Algerian Sahara, inspired the suite Beni Mora, written upon his return.
After the lukewarm reception of his choral work The Cloud Messenger in 1912, Holst was again off travelling, financing a trip with fellow composers Balfour Gardiner and brothers Clifford Bax and Arnold Bax to Spain, with funds from an anonymous donation. Despite being shy, Holst was fascinated by people and society, and had always believed that the best way to learn about a city was to get lost in it. In Gerona, Catalonia, he often disappeared, only to be found hours later by his friends having abstract debates with local musicians. It was in Spain that Clifford Bax introduced Holst to astrology, a hobby that was to inspire the later Planets suite. He read astrological fortunes until his death, and called his interest in the stars his "pet vice."
Shortly after his return, St Paul’s Girls School opened a new music wing, and Holst composed St Paul’s Suite for the occasion. At around this time (1913), Stravinsky premiered the Rite of Spring, sparking riots in Paris and caustic criticism in London. A year later, Holst first heard Schoenberg’s Five Pieces for Orchestra, an ‘ultra-modern’ set of five movements employing ‘extreme chromaticism’ (the consistent use of all 12 musical notes). Holst would have certainly been affected by the performance and, although he had earlier lampooned the stranger aspects of modern music (he had a strong sense of humour), the new music of Stravinsky and Schoenberg influenced, if not initially spurred, his work on The Planets.
Holst's compositions for wind band, though relatively small in number, guaranteed him a position as the medium's cornerstone, as seen in innumerable present-day programmes featuring his two Suites for Military Band. His one work for brass band, A Moorside Suite, remains an important part of the brass band repertoire.
The Planets
Holst and wife Isobel bought a cottage in Thaxted, Essex and, surrounded by medieval buildings and ample rambling opportunities, he started work on the suite that would become his best known work, the orchestral suite The Planets. It was meant to be a series of ‘mood pictures’ rather than anything concretely connected with astrology or astronomy, though Holst was known to have been using the book What Is A Horoscope by Alan Leo as a guide:
Mars – Independent, Ambitious, HeadstrongVenus – Awakens Affection and EmotionMercury – The ‘Winged Messenger of the Gods’, Resourceful, AdaptableJupiter – Brings Abundance, Perseverance
Holst was also influenced by a 19th-century astrologer called Raphael, whose book concerning the planets' role in world affairs led Holst to develop the grand vision of the planets that made The Planets suite such an enduring success.
The work was finished in two stages, with Mars, Venus and Jupiter written at one time, and Saturn, Uranus, Neptune and Mercury written after a break that Holst had taken to work on other pieces. The work was finished in 1916. The influence of Stravinsky was picked up by a critic who called it ‘the English Le Sacre du Printemps (Rite of Spring)’.
The first of the seven pieces is Mars, ‘the most ferocious piece of music in existence’, evoking a battle scene of immense proportion with its signature 5/4 metre (it changes to 5/2 and 3/4 at the end) and blatant dissonance. Holst directed that it be played slightly faster than a regular march, giving it a mechanized and inhuman character. It is often a surprise to learn that Mars was actually finished just before the horrors of World War I. Mars is easily Holst’s most famous piece, and has been quoted in everything from Carl Sagan’s Cosmos to video games.
Calm Venus and self-satisfied Jupiter, both also quite well known, demonstrate influence from Vaughan Williams, Stravinsky, Elgar and Schoenberg.
Uranus at first appears to be a quirky and frenetic homage to Dukas’s The Sorcerer's Apprentice, but Holst did not know the Frenchman's score at the time. Neptune is mysterious and evokes an other-worldly scene.
Most original is Saturn, in which 'a threatening clock ticks inexorably as the bassline, revealing both the dignity and frailties of old age'. Saturn was reputedly Holst's favourite of the seven movements.
Holst lived to see the discovery of Pluto in 1930; he chose not to add it to his suite, although a piece entitled "Pluto: The Renewer" was composed by Colin Matthews and has been lately included in select performances of The Planets, and may have been vindicated by the 2006 decision by astronomers to downgrade Pluto's planetary status.
Holst himself conducted the London Symphony Orchestra in the very first electrical recording of The Planets, in 1926, for HMV. Although, as his daughter Imogen noted, he couldn't quite achieve the gradual fade-out of women's voices and orchestra he had written (owing to the limitations of early electrical recording), it was a landmark recording of the work. The performance was later issued on LP and CD format.
At the onset of World War I, Holst tried to enlist but was rejected because of his bad eyes, bad lungs, and bad digestion. In wartime England, Holst was persuaded to drop the ‘von’ from his name, as it aroused suspicion. His new music, however, was readily received, as ‘patriotic’ and English music was demanded at concert halls, partly due to a ban on all ‘Teutonic’ music. Towards the end of the war he was offered a post within the YMCA’s educational work programme as Musical Director, and he set off for Salonica (present day Greece) and Constantinople in 1918. While he was teaching music to troops eager to escape the drudgery of army life, The Planets Suite was being performed to audiences back home. Shortly after his return after the war’s end, Holst composed Ode to Death, based upon a poem by Walt Whitman.
During the years 1920 – 1923, Holst's popularity grew through the success of The Planets and The Hymn of Jesus (1917) (based on the Apocryphal gospels), and the publication of a new opera, The Perfect Fool (a satire of a work by Wagner). Holst became something of 'an anomaly, a famous English composer’, and was busy with conducting, lecturing, and teaching obligations. He hated publicity – he often refused to answer questions posed by the press, and when asked for his autograph, handed out prepared cards that read, “I do not hand out my autograph”. Though he may not have liked the attention, he appreciated having enough money for the first time in his life. Always frail, after a collapse in 1923 he retired from teaching to devote the remaining (eleven) years of his life to composition.
Later life
In the following years, he took advantage of new technology to publicize his work through sound recordings and the BBC’s ‘wireless’ broadcasts. In 1927, he was commissioned by the New York Symphony Orchestra to write a symphony. He took this opportunity to work on an orchestral piece based on Thomas Hardy’s Wessex, a work that would become Egdon Heath, and which would be first performed a month after Hardy’s death, in his memory. By this time, Holst was ‘going out of fashion’, and the piece was poorly reviewed. However, Holst is said to have considered the short, subdued but powerful tone poem his greatest masterpiece. The piece has been much better received in recent years, with several recordings available.
Towards the end of his life, in 1930, Gustav Holst wrote Choral Fantasia (1930), and he was commissioned by the BBC to write a piece for military band: the resulting Hammersmith was a tribute to the place where he had spent most of his life, a musical expression of the London borough (of Hammersmith), which begins with an attempt to recreate the haunting sound of the River Thames sleepily flowing its way.
Gustav Holst had a lifetime of poor health worsened by a concussion during a backward fall from the conductor's podium, of which he never fully recovered. In his final 4 years, Holst grew ill with stomach problems. One of his last compositions, The Brook Green Suite, named after the land on which St Paul’s Girls’ School was built, was performed for the first time a few months before he died of complications following stomach surgery on May 25, 1934. His ashes were interred at Chichester Cathedral in West Sussex, with Bishop George Bell giving the memorial oration at the funeral.
Audio Biography
In 2007, BBC Radio 4 produced a radio play "The Bringer of Peace" by Martyn Wade, which is an intimate biographical portrait of composer Gustav Holst. The play follows his early dismay at his lack of composing success, to the creation of the Planets Suite; it is in seven tiers, following the structure of the Planets Suite. Adrian Scarborough played Gustav Holst. The producer was David Hitchinson.
Gustav Holst wrote almost 200 catalogued compositions, including orchestral suites, operas, ballets, concertos, choral hymns, and songs. (See: selected works, below).
Holst became music master at St Paul's Girls' School in 1905 and also director of music at Morley College in 1907, continuing in both posts until retirement (as detailed below).
Holst died on May 25, 1934, after stomach surgery, at age 59. He was the brother of Hollywood actor Ernest Cossart, and father of the composer and conductor Imogen Holst, who wrote a biography of her father in 1938.
Name
He was originally named Gustavus Theodor von Holst but he dropped the von from his name in response to anti-German sentiment in Britain during World War I, making it official by deed poll in 1918.
Early life
He was born in 1874 in Cheltenham, Gloucestershire, England to a family of Swedish extraction (by way of Latvia and Russia), and was educated at Cheltenham Grammar School for Boys.
Holst's grandfather, Gustavus von Holst of Riga, Latvia, a composer of elegant harp music, moved to England, becoming a notable harp teacher. Holst's father Adolph Holst, an organist, pianist, and choirmaster, taught piano lessons and gave recitals; and his mother, Clara von Holst, who died when Gustav was eight, was a singer. As a frail child whose early recollections were musical, Holst had been taught to play piano and violin, and began composing when he was about twelve.
Holst's father was the organist at All Saints' Church in Pittville, and his childhood home is now a small museum, devoted partly to Holst, and partly to illustrating local domestic life of the mid-19th century.
Holst grew up in the world of Oscar Wilde, H. G. Wells, George Bernard Shaw, Doyle, Gauguin, Monet, Wagner, Tchaikovsky, and Puccini. Both he and his sister learned piano from an early age, but Holst, stricken with a nerve condition that affected the movement of his right hand in adolescence, gave up the piano for the trombone, which was less painful to play.
He attended the newly relocated Royal College of Music in London on a scholarship, studying with Charles V. Stanford, and there in 1895, he met fellow student and lifelong friend Ralph Vaughan Williams, whose own music was, for the most part, quite different from Holst’s, but whose praise for his work was abundant and who later shared an interest in Holst teaching the English vocal and choral tradition (folk song, madrigals, and church music).
Holst was influenced during these years by socialism, and attended lectures and speeches by George Bernard Shaw, with whom he shared a passion for vegetarianism, and by William Morris, both of whom were among the UK's most outspoken supporters of the socialist movement in the UK.
It was also during these years that Holst became interested in Hindu mysticism and spirituality, and this interest was to influence his later works, including Sita (1899–1906, a three-act opera based on an episode in the Ramayana), Savitri, a chamber opera based on a tale from the Mahabharata, and Hymns from the Rig Veda, in preparation for which he taught himself basic Sanskrit to avoid reliance on the ‘substandard’ translations of the day.
To earn a living in the era before he had a satisfactory income from his compositions, he played the trombone in the Carl Rosa Opera Company and in a popular orchestra called the 'White Viennese Band', conducted by Stanislas Wurm. The music was cheap and repetitive and not to Holst's liking, and he referred to this kind of work as 'worming' and regarded it as 'criminal'. Fortunately his need to 'worm' came to an end as his compositions became more successful, and his income was given stability by his teaching posts.
During these early years, he was influenced greatly by the poetry of Walt Whitman, as were many of his contemporaries, and set his words in The Mystic Trumpeter (1904). He also set to music poetry by Thomas Hardy and Robert Bridges.
Musical career
In 1905, Holst was appointed Director of Music at St Paul's Girls' School in Hammersmith, London, where he composed the successful and still popular St Paul's Suite for the school orchestra in 1913. In 1907, Holst also became director of music at Morley College. Those two leadership positions were the most important of his teaching posts, and he retained both posts until the end of his life.
During the first two decades of the 20th century, musical society as a whole, and Holst's friend Vaughan Williams in particular, became interested in old English folksongs, madrigal singers, and Tudor composers. Holst shared in his friend’s admiration for the simplicity and economy of these melodies, and their use in his compositions is one of his music’s most recognizable features.
Holst was an avid rambler. He walked extensively in Italy and France, and had covered nearly every path in England by the time of his death[citation needed]. He also travelled outside the bounds of Europe, heading to French-controlled Algeria in 1906 on doctor's orders as a treatment for asthma and the depression that crippled him after his submission failed to win the Ricordi Prize, a coveted award for composition. His travels in the Arab and Berber land, including an extensive bicycle tour of the Algerian Sahara, inspired the suite Beni Mora, written upon his return.
After the lukewarm reception of his choral work The Cloud Messenger in 1912, Holst was again off travelling, financing a trip with fellow composers Balfour Gardiner and brothers Clifford Bax and Arnold Bax to Spain, with funds from an anonymous donation. Despite being shy, Holst was fascinated by people and society, and had always believed that the best way to learn about a city was to get lost in it. In Gerona, Catalonia, he often disappeared, only to be found hours later by his friends having abstract debates with local musicians. It was in Spain that Clifford Bax introduced Holst to astrology, a hobby that was to inspire the later Planets suite. He read astrological fortunes until his death, and called his interest in the stars his "pet vice."
Shortly after his return, St Paul’s Girls School opened a new music wing, and Holst composed St Paul’s Suite for the occasion. At around this time (1913), Stravinsky premiered the Rite of Spring, sparking riots in Paris and caustic criticism in London. A year later, Holst first heard Schoenberg’s Five Pieces for Orchestra, an ‘ultra-modern’ set of five movements employing ‘extreme chromaticism’ (the consistent use of all 12 musical notes). Holst would have certainly been affected by the performance and, although he had earlier lampooned the stranger aspects of modern music (he had a strong sense of humour), the new music of Stravinsky and Schoenberg influenced, if not initially spurred, his work on The Planets.
Holst's compositions for wind band, though relatively small in number, guaranteed him a position as the medium's cornerstone, as seen in innumerable present-day programmes featuring his two Suites for Military Band. His one work for brass band, A Moorside Suite, remains an important part of the brass band repertoire.
The Planets
Holst and wife Isobel bought a cottage in Thaxted, Essex and, surrounded by medieval buildings and ample rambling opportunities, he started work on the suite that would become his best known work, the orchestral suite The Planets. It was meant to be a series of ‘mood pictures’ rather than anything concretely connected with astrology or astronomy, though Holst was known to have been using the book What Is A Horoscope by Alan Leo as a guide:
Mars – Independent, Ambitious, HeadstrongVenus – Awakens Affection and EmotionMercury – The ‘Winged Messenger of the Gods’, Resourceful, AdaptableJupiter – Brings Abundance, Perseverance
Holst was also influenced by a 19th-century astrologer called Raphael, whose book concerning the planets' role in world affairs led Holst to develop the grand vision of the planets that made The Planets suite such an enduring success.
The work was finished in two stages, with Mars, Venus and Jupiter written at one time, and Saturn, Uranus, Neptune and Mercury written after a break that Holst had taken to work on other pieces. The work was finished in 1916. The influence of Stravinsky was picked up by a critic who called it ‘the English Le Sacre du Printemps (Rite of Spring)’.
The first of the seven pieces is Mars, ‘the most ferocious piece of music in existence’, evoking a battle scene of immense proportion with its signature 5/4 metre (it changes to 5/2 and 3/4 at the end) and blatant dissonance. Holst directed that it be played slightly faster than a regular march, giving it a mechanized and inhuman character. It is often a surprise to learn that Mars was actually finished just before the horrors of World War I. Mars is easily Holst’s most famous piece, and has been quoted in everything from Carl Sagan’s Cosmos to video games.
Calm Venus and self-satisfied Jupiter, both also quite well known, demonstrate influence from Vaughan Williams, Stravinsky, Elgar and Schoenberg.
Uranus at first appears to be a quirky and frenetic homage to Dukas’s The Sorcerer's Apprentice, but Holst did not know the Frenchman's score at the time. Neptune is mysterious and evokes an other-worldly scene.
Most original is Saturn, in which 'a threatening clock ticks inexorably as the bassline, revealing both the dignity and frailties of old age'. Saturn was reputedly Holst's favourite of the seven movements.
Holst lived to see the discovery of Pluto in 1930; he chose not to add it to his suite, although a piece entitled "Pluto: The Renewer" was composed by Colin Matthews and has been lately included in select performances of The Planets, and may have been vindicated by the 2006 decision by astronomers to downgrade Pluto's planetary status.
Holst himself conducted the London Symphony Orchestra in the very first electrical recording of The Planets, in 1926, for HMV. Although, as his daughter Imogen noted, he couldn't quite achieve the gradual fade-out of women's voices and orchestra he had written (owing to the limitations of early electrical recording), it was a landmark recording of the work. The performance was later issued on LP and CD format.
At the onset of World War I, Holst tried to enlist but was rejected because of his bad eyes, bad lungs, and bad digestion. In wartime England, Holst was persuaded to drop the ‘von’ from his name, as it aroused suspicion. His new music, however, was readily received, as ‘patriotic’ and English music was demanded at concert halls, partly due to a ban on all ‘Teutonic’ music. Towards the end of the war he was offered a post within the YMCA’s educational work programme as Musical Director, and he set off for Salonica (present day Greece) and Constantinople in 1918. While he was teaching music to troops eager to escape the drudgery of army life, The Planets Suite was being performed to audiences back home. Shortly after his return after the war’s end, Holst composed Ode to Death, based upon a poem by Walt Whitman.
During the years 1920 – 1923, Holst's popularity grew through the success of The Planets and The Hymn of Jesus (1917) (based on the Apocryphal gospels), and the publication of a new opera, The Perfect Fool (a satire of a work by Wagner). Holst became something of 'an anomaly, a famous English composer’, and was busy with conducting, lecturing, and teaching obligations. He hated publicity – he often refused to answer questions posed by the press, and when asked for his autograph, handed out prepared cards that read, “I do not hand out my autograph”. Though he may not have liked the attention, he appreciated having enough money for the first time in his life. Always frail, after a collapse in 1923 he retired from teaching to devote the remaining (eleven) years of his life to composition.
Later life
In the following years, he took advantage of new technology to publicize his work through sound recordings and the BBC’s ‘wireless’ broadcasts. In 1927, he was commissioned by the New York Symphony Orchestra to write a symphony. He took this opportunity to work on an orchestral piece based on Thomas Hardy’s Wessex, a work that would become Egdon Heath, and which would be first performed a month after Hardy’s death, in his memory. By this time, Holst was ‘going out of fashion’, and the piece was poorly reviewed. However, Holst is said to have considered the short, subdued but powerful tone poem his greatest masterpiece. The piece has been much better received in recent years, with several recordings available.
Towards the end of his life, in 1930, Gustav Holst wrote Choral Fantasia (1930), and he was commissioned by the BBC to write a piece for military band: the resulting Hammersmith was a tribute to the place where he had spent most of his life, a musical expression of the London borough (of Hammersmith), which begins with an attempt to recreate the haunting sound of the River Thames sleepily flowing its way.
Gustav Holst had a lifetime of poor health worsened by a concussion during a backward fall from the conductor's podium, of which he never fully recovered. In his final 4 years, Holst grew ill with stomach problems. One of his last compositions, The Brook Green Suite, named after the land on which St Paul’s Girls’ School was built, was performed for the first time a few months before he died of complications following stomach surgery on May 25, 1934. His ashes were interred at Chichester Cathedral in West Sussex, with Bishop George Bell giving the memorial oration at the funeral.
Audio Biography
In 2007, BBC Radio 4 produced a radio play "The Bringer of Peace" by Martyn Wade, which is an intimate biographical portrait of composer Gustav Holst. The play follows his early dismay at his lack of composing success, to the creation of the Planets Suite; it is in seven tiers, following the structure of the Planets Suite. Adrian Scarborough played Gustav Holst. The producer was David Hitchinson.
Jupiter
Gustav Holst Lyrics
We have lyrics for 'Jupiter' by these artists:
311 Sometimes the only thing that saves you Think of bad things…
A Sides I was under a tree I was just smoking Enjoying my weed But…
Adam.A The King of Thunder I'm the hurricane But you command the su…
Algodón Hipnotizame Si Hipnotizame Por favor Antes que muera Antes q…
Alonzo (Salve frati, amici) salut amis Terriens (Loco dei Jupiter) …
Amphision It is there where you can really feel What it truly…
An Pierlé Jupiter looks good tonight But I fear to fall into the…
Aoife O'Donovan Write me a letter write it by hand Tell me everything…
Apolo El frío, me trajo de nuevo hasta aquí Y herido como…
Asterisk & You I've built an empire on my regrets And I'm still alone Come…
Augxst You're on my mind so often Cant fuck with all this…
Ayaka Hirahara 詞：吉元由美 Every day I listen to my heart ひとりじゃない 深い胸の奥でつなが…
B.o.B. ft. Hayley Williams of Paramore Gotta bitch on my left Gotta bitch on my right Gotta bitch…
Bad Man in the moon Drop that groove Cause I'm in love with…
Bard I was outer space like Jupiter (Ugh) I was smoking trees…
Benjamin Clementine Ben is an alien with extra ability Pushed time to next…
Binnaz Sönmez Dursun Gaz devlerinden biriyim Güneş sistemindeki en büyük gezegeni…
Blackfield Once we were young, we had no plans What simplicity of…
Blues Pills When the earth no longer turns and the sun cannot…
Bryce Dessner My father, working night First shift, eternal light The curs…
BUCK-TICK 歩き出す月の螺旋を 流星だけが空に舞っている そこからは小さく見えたあなただけが 優しく手を振る 頬に濡…
BUCK-TICK - Topic 歩き出す月の螺旋を 流星だけが空に舞っている そこからは小さく見えた あなただけが 優しく手を振る 頬に流れ出す 赤い…
BUCK‐TICK 歩き出す月の螺旋を 流星だけが空に舞っている そこからは小さく見えた あなただけが 優しく手を振る 頬に流れ出す 赤い雫…
Bxbymakingmusic Don't you worry about me, I'm fine I just got some…
Carrie Rudzinski On our last night as children I aked you what you…
Casper Jones Jupiter Interstellar mamí Far out baddie with a body You …
Cave In the metronome was wrong again my heart has surely gone and…
Celestial Season Last night I went to Jupiter and silently I stayed until I…
Celien Schneider Remember when you wanted to go On the rocks on the…
Chronic Future I can afford a down payment Peasants flying in a distant…
Class Clown Youre flying through space on these wasted nights Ill drop…
Cody Morgan We flew past Jupiter with hope in our eyes By the…
Covey You made it out alive And it′s probably for the best 'Cause…
D-Mitch There's something here When you come near A gravity between …
D.Folks She calling me Jupiter Cause the way I look at…
Def/Light Now that she's back in the atmosphere With drops of Jupiter…
Devin Townsend I know you At least I think I do Everything's changed But in…
DJ Friction & K-Tee Liefste schat ik zit hier op aarde Elke nacht naar de…
Donna Missal Our love is for real How'd it take a long long…
Drewmat Yeah yeah ′Til I get high Floating, up in space hell yeah T…
dustbox My shattered mind silently starts a war Nobody exactly knows…
Earth Wind & Fire Searching in the sky one night, while looking for the…
East & Young I'm back now don't give a fuck about them fakes…
Efe Özülkü Leave me, breathless I don’t wanna go home yet I need you,…
EJ Michels What if you told me you were done? Over the world Over…
Enigmix As we look upon the stars, we see the universe…
F.A.N.T.A.S.T This is why I wrote those songs: to make people…
Fabiana Cantilo Lo puedo ver el mundo ya no esta de vuelta para mi lo…
Fanu & Mineral Floating into view Mars and Jupiter are flying We're spinnin…
Fard Mir scheißegal wie viel Schmerz du in deinen Vers verpackst …
Fireside It's been a while, since I saw you the last time And…
Five-Storey Ensemble seems we're all looking for to find all the little thing…
flower face Overwhelming ecstasy Our bodies move in harmony Always wakin…
Friction & K-Tee Abre la puerta, Vilma, otra vez que dejo las llaves…
G-Families One time I gotta flex (Yeah) I said fuck it one…
Gabriel & Dresden Acende esse beck Da play na track Minha tristeza reflete …
Gallant iamonds on a silver platter weren't enough And you thought a…
Gold Revere Panic I’m an addict, look I think I need to…
Grace Gaustad I had a hard time walking by your house today Cause…
Gæste Gutter Refleksjoner i mitt hode Lighter opp og turer langt vekk fra…
Handsome Poets There was a time, there was a time before this…
Horváth Tamás Jupiter gyere vissza hozzám Itt várok a Tejút közepén…
How I Became Invisible I'm the loudest I'm the biggest I'm the baddest So let's go …
Imane Mot doux brutal Ça fait du mal Danger fatal Enjeu sidéral Fa…
In Oceans So I'll sing, this song to you, and give you…
J. Zunz I've built an empire on my regrets And I'm still alone Come…
James McAlister My father, working night First shift, eternal light The curs…
Jenny Hval We slowed down Stopped outside Prada Marfa An abandoned petr…
Jerome We're chasing sunrise at high-speed Leaving earth, that's wh…
Jewel Venus De Milo in half-baked shell Understood the nature of l…
John Coltrane Searching in the sky one night, while looking for the…
Julian Mourin rayos y flores bajo las estrellas ese planeta señalaste es …
Jupiter Estive pensando em mudar Mas acho que enlouqueci As coisas q…
K.Raydio Abre la puerta, Vilma, otra vez que dejo las llaves…
K3 ( 'Welkom op het intergalactische netwerk. De abonnee kan u…
Ka-yu Dropei um doce, parei em Jupter Todos pensaram que eu era…
Katy McAllister Your heart is the sun and the leaves are your soul blowing…
Kelela It's hard to hear, you're in and out I can tell…
Kelela & Ethereal Find a light in a cold color Finding me, finding a…
Kelela - Topic It's hard to hear, you're in and out I can tell…
Kunzite I'm not so bad, you're right, I'm not so bad,…
Leiahdorus You were already built and could not be erased You were…
Lenseye Think I’m from a different world No sport ball, never was…
Les Louanges Oh à soir J'ai les pieds qui touchent plus à terre Aller-ret…
Leuca We can never get enough of what we want Cause there's…
liska It's up, it's open It's pulling me close So strong, I love…
Little Glee Monster Every day I listen to my heart ひとりじゃない 深い胸の奥で つながってる 果てしない…
lo-fi dreams If I could Turn night into day You know I would If I…
Lonepsi Mes sentiments se sont tirés Dans de lointains souterrains Q…
Lori Lewis Dawn, is retreating from the sun As a new day has…
Los Vaguens Te llevaré Donde las flores toquen tu piel Te mostraré Cómo …
Lucybell Es verdad, ya no tengo que decir Es verdad, algo malo…
Luminiscencia Tengo una ilusión irracional Dentro, de lo que dice ser "yo"…
LUV and SOUL Wish I'd never been born Feeling Estranged Isolate from the …
M-Martin Jupiter 22 Jupiter 22 Jupiter 22 Jupiter 22 Jupiter Jonesin…
M.a.d.c Tu silueta se dibuja con lo tibio de tu piel Morenita…
M.A.N.D.Y. This is why I wrote those songs: to make people…
M.G.G.オリジナル One time I gotta flex (Yeah) I said fuck it one…
Mai Anna When the stars fall out the sky, I'll try to…
Makoto & A Sides I was under a tree I was just smoking Enjoying my weed But…
maltese matt In every dream I have you're in the car You're not…
Masoe Boul'vard Voltaire se remplit de haine Guerre des coeurs que…
Mata We went traveling East to West cnd did something we regret.…
Matt Maltese In every dream I have you're in the car You're not…
ME REX I want a river to run through me Carve out a…
MEKHAI Ay, Man I keep a tab Like a keyboard, bitch Whoadies sending…
MGZ 101 Je me réveille dans ce monde, y'a quelques secondes j'étais…
Moc Turtle Als ich dich sah Nahmst Du mir den Atem Schwebte im luftleer…
Mooryc I'm sitting in my kitchen everything is far away I sit…
mr. california CHORUS Windows go down down Seek with our sight Not for sui…
MUCC/ã ãã¯/BUCK-TICK 歩き出す月の螺旋を 流星だけが空に舞っている そこからは小さく見えた あなただけが 優しく手を振る 頬に流れ出す 赤い…
N. A. S. A. This is why I wrote those songs: to make people…
NDK O tempo do relógio não para de marcar, e você…
Ofln - Earth Wind & Fire Searching in the sky one night, while looking for the…
Oh Chentaku Kau janjikan sinar setia Ternyata palsu, dustai dunia Awan…
Oleg Gurtovoy & VEGA I'm at my wit's end Just lackadaisical Pulling your heartstr…
OrcaMind I'm on my way home to you I feel like time…
Painted In Exile Tumbling stars fall down Punishment from the heavens They te…
Performed by S.N.A.H. En mi cabeza guerra y paz, Leon Tolstoi Pa la paz…
Project Pitchfork You feel me - feel with me You see me -…
PsyNet F48.1 The Halcyon System I uh, got off the moon And now were…
Royal S and G-Swatt & G-Swatt One time I gotta flex (Yeah) I said fuck it one…
S.N.A.H. This is why I wrote those songs: to make people…
S10 Misschien schrijf ik een lied Speciaal voor jou Misschien ho…
Sally Rose How do I get this feeling off my chest I still…
Saturday Night Live Band Searching in the sky one night, while looking for the…
Señor Saw Soñándome Cada mañana la veo colgada en la azotea La detesto…
Silva Você tem quilos de tédio Eu ando tão distraído Vou te tirar…
Simon & Jérémie Périn Заљубен Инертен ѕвер Супер Јупитер Динамика Свесна пепертука…
Simon Norrsveden Om du vill, skär av mig Bara Jupiter förstår Blodröd sol i…
Slaves of the Prison 严以戒律 普照苍茫 百众俯首 魑魅魍魉 天上天下 唯我独尊 毋庸置疑 无可厚非 屈服吧 充满血腥与残暴的时代已经降临 …
Sleeping at Last I wrote it down in the winter of 1610. Just a…
Sound & Temper Fine caress That we hand to your head To chase away The…
Spillage VIllage So hold my hands and dance with me tonight You know…
St. JULIEN I heard it was all the rage rolling at the Jupiter…
Steam Phunk & Jessica Chertock You used to tell me the look in my eyes Could light…
Steppenwolf The one who reads the stars has told me Why you're…
Strange eyes Your heart was safe in my hands Just needed a calm…
Sufjan Stevens My father, working night First shift, eternal light The curs…
Tede & Sir Mich Cześć! To jest pierdolony Certyfikowany banger Przybujane po…
The Antlers This my first year being rich God, Guide me in…
The APX Jupiter Jupiter Soon as walk in the room Want you to do me …
The Boy And The String Machine Jupiter and saturn flow Cosmic intervention I can see exactl…
The Eden Project Can you hear me out this time Just a minute let…
The Futureheads When your life fills you with despair, You have to believe…
The Mar Money Power Full control Be a doll Do what you're told Yes I…
The Marías Heaven knows you better Than all this West Coast weather Hon…
The Presidents of the United States of America Send a probe through a massive storm A million molecules mak…
The Sand Collector In the middle of your universe You feel so great and…
The Saturday Night Live Band Searching in the sky one night, while looking for the…
The Smashing Pumpkins Gone, long gone We can all be gone, gone, gone Leave this…
The Whiz-Kid They say, heaven is a place in the sky But you…
Thomas Buttenschøn Jeg fatter ikke Hvordan vi nåede så langt Vi lå bagest i…
Tink [Verse 1] J-J-Jupiter This feels better than I expected Neve…
Tito %26 Tarantula I woke up with an orange Man in my face Soldered To the…
To-night Searching in the sky one night, while looking for the…
Top-C Tu silueta se dibuja con lo tibio de tu piel Morenita…
Tori Amos No one's picking up the phone Guess it's me and me And…
V.I.R.U.S. seems we're all looking for to find all the little thing…
Various Artists i won't dance, don't ask me i won't dance, don't ask…
Vitne Standing close, yet never felt further away Have I given up…
YoSoyMatt Jupiter, is the largest and most massive planet In the solar…
You I've built an empire on my regrets And I'm still alone Come…
Your Favorite Martian There′s nothing left to say I'm not with you You lie so…
Yukiko Okada Ah 燃えあがる この胸のときめき Ah どうしよう 誘惑のウインク 夢の中で 何もなかったのに Ah つまさきが 踊…
Zac Flewids Yeah Lil' momma fuck me get stupider She drinking water fro…
Zulabard We're turning round the sun But I can't get out of…
Ʌ seems we're all looking for to find all the little thing…
ϟ Buck-Tick 歩き出す月の螺旋を 流星だけが空に舞っている そこからは小さく見えた あなただけが 優しく手を振る 頬に流れ出す 赤い…
平原綾香 詞：吉元由美 Every day I listen to my heart ひとりじゃない 深い胸の奥でつなが…
平原綾香 - Hirahara Ayaka Every day I listen to my heart ひとりじゃない 深い胸の奥で つながってる 果てしない時を…
Earth Wind & Fire Searching in the sky one night, while looking for the…
We have lyrics for these tracks by Gustav Holst:
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
@Calvin1985
This piece is so good that they named a whole-ass planet after it.
@bryeo2265
Calvin underrated comment
@johnivanoplimo5172
Where's your best friend, Hobbes, man?
@spicyaleks2881
Erm actually Jupiter was both named and discovered prior to the writing and naming of the song
@Calvin1985
Spicy Aleks r/whoosh
@kaan4288
@Calvin it took a month to whoosh someone
@black_kyber4348
"Remember I'll always be here for You, even if you can't see me, because I love you".
@sheralynsilva2850
Yep! That’s why I’m here 😢 such a great episode.
@starreturns1
tail wags
Definitely agreed
@Q.Anderson
cries like no tomorrow