While I think the orchestral version (the one Holst eventually made this into) depicts the war more vividly, the general structure of the piece and the chords especially are much clearer here. Really interesting to hear how he harmonized the general piece.
What I like having the two piano rendition of this(which I had another version of ages ago) is that harmonics stand out rather prominently due to the interaction produced by the pianos playing the same chords
+JupiterIV I always heard he originally wrote the entire thing for two pianos and then orchestrated. They are both complete works in their own right. Similar to the piano and orchestral versions of Ravel's Le Tombeau de Couperin, they are both complete works in their own right.
The reason that he needed a keyboard version on paper was that he suffered from neuritis in his right arm, and this often prevented him from playing over his sketches while he was composing." can someone please explain this? i dont get it
How do the pianists even reach triple f? I myself have come across extreme dynamics in piano pieces even by Romantic Period composers such as Mendelssohn. Not really in Beethoven or earlier and Chopin's extreme dynamics are just the extremes of quiet. That is relatively easy. Extremes of loudness though are hard, especially for a pianist. When I see something like fff in a score, here is how I treat it: Orchestral: Yeah, go ahead and creschendo further, no screech will be noticeable Soloist that isn't piano: Lower the absolute dynamics so that the same relative dynamic is acheived without a screech(so piano becomes pianissimo for example) Piano: Extend the fortissimo until a quieter dynamic is reached, maybe using octaves to get a creschendo of mass rather than of volume. Once a dynamic of forte or quieter is reached, change the dynamic as usual.
Jovet No, I’m just wondering how the pianists get past fortissimo. I mean, when I play fortissimo in a piece by Beethoven for example, I put my entire arm weight into the notes. Mozart fortissimo, more delicate but still a lot of weight behind it. I have seen quadruple f in pieces by Mendelssohn and I’m like "How can I even get that loud when I put all my arm weight into a Beethoven fortissimo?" And that’s for solo piano works.
It feels like it is playing at 240 BPM because of half notes taking the beat in both 5/4 and 4/4. I mean why would you write allegro and have it actually be presto because of time signature? If I personally wrote something as complicated as this and wanted half notes to take the tempo beat, I would have put in 5/2 and 4/2 which while halving the length of the piece in terms of measures makes sense. That or write down presto for quarter notes and have quarter notes take the beat(thus matching speed and measure number). It doesn't make sense to me for the time signature to have quarters taking the beat while the tempo has half notes taking the beat.
But I clearly see Allegro as the tempo at the beginning. But I can see right there at one of the beginning measures of this piece a half note and guess what? In this 5/4 time signature, for no good reason, the half note is taking the beat at 120 BPM. But the time signature is telling me that quarters should be getting the beat. It is as if he wrote it in 5/2 and put a 5/4 in there by mistake.
The tempo is very constant throughout the piece at 160 BPM, not 120 or 240. If you're going with half notes, they would be 80 BPM, or half of the quarter note beat. 5/2 would not make any sense at all, since the basic rhythm is a triplet of eighth notes (1 beat) 2 quarter notes (2 beats), 2 eighth notes (1 beat), and a quarter note (1 beat). Add that up and you get 5/4.
I know it's a little bit late and all, but IMSLP is a great resource for music that has passed it's age for copyright or whatever, for Canada anyways. If you search "imslp the planets" into google, open the link to The Planets for the complete version, then go into the transpositions tab and select the full score for 2 pianos, from what I can tell they are the same, except it of course continues on past Mars.
The Center of Cosmic Wheel "Mars" is tongue become a tongue of Anger Sign made the sword. Tongue becomes species, species tell story by tongue. Tongue are called evil. GodBlessYou MiTSU†
AkwadTypo YT Yes it doesn't have any interest. I played this in a big orchestra (+100 people), it was magic ! And this feeling isn't redone on the pianos. Sorry for my English I am French.
Is it as good as the orchestrated version? no of course not. But id argue its still quite nice to listen to, Venus from this suite works really well for 2 pianos IMO
While I think the orchestral version (the one Holst eventually made this into) depicts the war more vividly, the general structure of the piece and the chords especially are much clearer here. Really interesting to hear how he harmonized the general piece.
Yeah. The ideas are clearer in the piano and more vivid and rich in the orchestra.
What I like having the two piano rendition of this(which I had another version of ages ago) is that harmonics stand out rather prominently due to the interaction produced by the pianos playing the same chords
one of the best piano arrangement... doesn't come short to orchestra version
erick hidayat Not an arrangement. This is the original. The orchestra version was basically "version 2" of the work, arranged by the composer.
I have heard about the early 2 piano version, but never thought it became printed, thank you for the info
+JupiterIV I always heard he originally wrote the entire thing for two pianos and then orchestrated. They are both complete works in their own right. Similar to the piano and orchestral versions of Ravel's Le Tombeau de Couperin, they are both complete works in their own right.
The Organ arrangement is not bad either...
Does anyone know the truth ????
Beautiful performance. Wow!
Am currently learning this for one piano.
Ling Ling play two piano himself
@@fredericchopin6445 No, Ling Ling plays 40 pianos for 40 hours
The reason that he needed a keyboard version on paper was that he suffered from neuritis in his right arm, and this often prevented him from playing over his sketches while he was composing."
can someone please explain this? i dont get it
awesome stuff, i like this version. Now i'm excited for looking up the two piano versions of Jupiter (=
have you seen the one from Kenji Atwood? It's fantastic! ?v=MO98n0sgFIA
複調性がすぐわかる編曲！！
日本人来たああああ
Very well played
more complicated than I thought. I won't be ordering the sheet music soon.
How do the pianists even reach triple f? I myself have come across extreme dynamics in piano pieces even by Romantic Period composers such as Mendelssohn. Not really in Beethoven or earlier and Chopin's extreme dynamics are just the extremes of quiet. That is relatively easy. Extremes of loudness though are hard, especially for a pianist. When I see something like fff in a score, here is how I treat it:
Orchestral: Yeah, go ahead and creschendo further, no screech will be noticeable
Soloist that isn't piano: Lower the absolute dynamics so that the same relative dynamic is acheived without a screech(so piano becomes pianissimo for example)
Piano: Extend the fortissimo until a quieter dynamic is reached, maybe using octaves to get a creschendo of mass rather than of volume. Once a dynamic of forte or quieter is reached, change the dynamic as usual.
Did you miss the 𝆑𝆑𝆑𝆑?
Jovet No, I’m just wondering how the pianists get past fortissimo. I mean, when I play fortissimo in a piece by Beethoven for example, I put my entire arm weight into the notes. Mozart fortissimo, more delicate but still a lot of weight behind it. I have seen quadruple f in pieces by Mendelssohn and I’m like "How can I even get that loud when I put all my arm weight into a Beethoven fortissimo?" And that’s for solo piano works.
danke
It feels like it is playing at 240 BPM because of half notes taking the beat in both 5/4 and 4/4. I mean why would you write allegro and have it actually be presto because of time signature? If I personally wrote something as complicated as this and wanted half notes to take the tempo beat, I would have put in 5/2 and 4/2 which while halving the length of the piece in terms of measures makes sense. That or write down presto for quarter notes and have quarter notes take the beat(thus matching speed and measure number).
It doesn't make sense to me for the time signature to have quarters taking the beat while the tempo has half notes taking the beat.
I'm hearing 160 bpm for quarter notes
But I clearly see Allegro as the tempo at the beginning. But I can see right there at one of the beginning measures of this piece a half note and guess what? In this 5/4 time signature, for no good reason, the half note is taking the beat at 120 BPM. But the time signature is telling me that quarters should be getting the beat. It is as if he wrote it in 5/2 and put a 5/4 in there by mistake.
The tempo is very constant throughout the piece at 160 BPM, not 120 or 240. If you're going with half notes, they would be 80 BPM, or half of the quarter note beat. 5/2 would not make any sense at all, since the basic rhythm is a triplet of eighth notes (1 beat) 2 quarter notes (2 beats), 2 eighth notes (1 beat), and a quarter note (1 beat). Add that up and you get 5/4.
this makes me think of x2 :x-men 2 :)
Where can I get the sheet music for this?
I know it's a little bit late and all, but IMSLP is a great resource for music that has passed it's age for copyright or whatever, for Canada anyways. If you search "imslp the planets" into google, open the link to The Planets for the complete version, then go into the transpositions tab and select the full score for 2 pianos, from what I can tell they are the same, except it of course continues on past Mars.
The Center of Cosmic Wheel "Mars" is tongue become a tongue of Anger Sign made the sword.
Tongue becomes species, species tell story by tongue. Tongue are called evil.
GodBlessYou
MiTSU†
What is that clef?
It's a bass clef.
It’s an older style of bass clef that I have only ever seen in the music of English composers like Gustav Holst himself.
Not the music you would want to hear if you were living in Europe during WWII. It would mean the Nazis are on your doorstep.
But how do they do the col legno and timpani parts?
AkwadTypo YT The orchestra version is much richer, I don't know why they did a piano version.
Samuel Nguyen I hate when piano players play god and try to play entire orchestral arrangement
AkwadTypo YT Yes it doesn't have any interest. I played this in a big orchestra (+100 people), it was magic ! And this feeling isn't redone on the pianos. Sorry for my English I am French.
Samuel Nguyen oh wow. You have better English than most people in America actually
AkwadTypo YT Oh thank you ! I have the impression that a lot of young people in the world don't speak their mother tongue very well.
Too fast. Never do this piece too fast.
This song sounds empty on piano
That's because the piano isn't an orchestra.
Is it as good as the orchestrated version? no of course not. But id argue its still quite nice to listen to, Venus from this suite works really well for 2 pianos IMO