The piano version was published and performed after the symphonic version but my understanding is they were written at the same time. It makes sense Rachmaninoff wrote a 4 stave version before orchestrating. Perhaps I'm mistaken?
A bit like Holst with the Planets. Strictly speaking, the orchestral Planets suite is an arrangement of the original two-piano suite (from which Jupiter sounds absolutely awesome, actually) but the orchestral version is essentially the only one anyone takes seriously.
@@idrisbalavakos It always depends from the composer. A lot of composers could write the orchestral score without using piano (klavier). Rachmaninov could do this too, no doubt, but most of his orchestral works were first written for piano or 2 pianos, then he orchestrated them.
Yes! I agree! The wistful melody introduced here - in Rachmaninoff's last major orchestral work, composed in 1940 - is a self-quotation from the opening movement of his first major orchestral work, the First Symphony in D minor, dating from 1895, when he was just 22 years old. It is one of the saddest, most poignant moments in symphonic music.
Yes, this is the hit point in film-speak. Very beautiful, made the more so by the counterpoint derived from the earlier Sax melody (haunting by itself). R was sent for specific counterpoint training during his time in Moscow. I think he was 15!
Exactly! And maybe I’m twisting your words a little bit here, but every time I hear this section I can’t help but think of those old-timey 1940s-60s era Hollywood movies with their orchestral backing scores. they probably drew heavy inspiration from the compositional greats, especially Rachmaninoff considering he lived in that area. I also think the two-piano version doesn’t do this ending section justice. Nothing can beat the entrance of the strings on that final melody contrasted against the winds + percussion staccato counterpoint. Reminds me a lot of the calm sections in the middle of the second piano concerto.
![Rachmaninoff: Symphonic Dances, Op 45 (with Full Score) [4K UHD]](http://i.ytimg.com/vi/V3uWZFJ6EOI/mqdefault.jpg)
![Rachmaninoff: Symphonic Dances, Op 45 (with Full Score) [4K UHD]](/img/tr.png)
It was an absolute disgrace that they never mentioned this piece in my orchestration course. This is the pinnacle of piano to orchestra transcription.
Isn't it "orchestra to pianos" transcription
The piano version was published and performed after the symphonic version but my understanding is they were written at the same time. It makes sense Rachmaninoff wrote a 4 stave version before orchestrating. Perhaps I'm mistaken?
A bit like Holst with the Planets. Strictly speaking, the orchestral Planets suite is an arrangement of the original two-piano suite (from which Jupiter sounds absolutely awesome, actually) but the orchestral version is essentially the only one anyone takes seriously.
Grieg's Holberg Suite was originally a piano work.
@@idrisbalavakos It always depends from the composer. A lot of composers could write the orchestral score without using piano (klavier). Rachmaninov could do this too, no doubt, but most of his orchestral works were first written for piano or 2 pianos, then he orchestrated them.
Fantastic! So glad I found this. Maybe I’ll turn this into an organ 4 hands 4 feet version
10:43 Beautiful moment
Yes! I agree! The wistful melody introduced here - in Rachmaninoff's last major orchestral work, composed in 1940 - is a self-quotation from the opening movement of his first major orchestral work, the First Symphony in D minor, dating from 1895, when he was just 22 years old. It is one of the saddest, most poignant moments in symphonic music.
Yes, this is the hit point in film-speak. Very beautiful, made the more so by the counterpoint derived from the earlier Sax melody (haunting by itself). R was sent for specific counterpoint training during his time in Moscow. I think he was 15!
Exactly! And maybe I’m twisting your words a little bit here, but every time I hear this section I can’t help but think of those old-timey 1940s-60s era Hollywood movies with their orchestral backing scores. they probably drew heavy inspiration from the compositional greats, especially Rachmaninoff considering he lived in that area.
I also think the two-piano version doesn’t do this ending section justice. Nothing can beat the entrance of the strings on that final melody contrasted against the winds + percussion staccato counterpoint.
Reminds me a lot of the calm sections in the middle of the second piano concerto.
9:32
Extra *BASS*
Beautiful! What is the title of this??
Rachmaninoff - Symphonic Dances, Op 45: 1. non allegro
This is great! Can I find the 2 piano 3rd movement with score anywhere?
no