Listen on Spotify View Our YouTube Channel Follow us on Twitter Find us on Facebook · Home · Composers · Catalogue Search. Composer Quick Links, Aa. Sergey Koussevitzky. Concerto for double-bass & orchestra, Op. 3. Composition Information ↓; Description ↓; Parts/Movements ↓; Appears On ↓. Share on. Contributor(s). Serge Koussevitzky ( – ) – Composer. Primary Item Type : Musical Score. Identifiers: LCSH Concertos (Double bass).

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Over that year period, he built the ensemble’s reputation into that of a leading American orchestra. However, he continued to return to Paris in the summers to conduct his Concerts Koussevitzky until Romantic Evening Doubke All Themes. Streams Videos All Posts. Views Read Edit View history.

InKoussevitzky commissioned Maurice Ravel ‘s arrangement of Modest Mussorgsky ‘s suite for piano, Pictures at an Exhibitionwhich was premiered on 19 October that dluble [10] and quickly became the most famous and celebrated orchestration of the work. The programs included many new works. Return to top of page.

Retrieved from ” http: Jazz Latin New Age. Koussevitzky had a large-scale festival piece in mind, but with World War II underway and France having fallen to Germany, Thompson could not find such an inspiration.

There has been a considerable debate, mostly among doublebassists, as to whether or not Koussevitzky wrote the Concerto himself. As an avid supporter of new music, Koussevitzky created the Koussevitzky Music Concreto in Following Koussevitzky’s death, his widow, Olga Koussevitzky, presented double-bassist Gary Karr with his double bassonce concero to have been made in by brothers Antonio and Girolamo Amati. Koussevitzky died in Boston in and was buried alongside his wife Natalie at the Church on the Hill Cemetery in Lenox.

One of the later doub,e featured Prokofiev’s Peter and the Wolf and Richard Strauss ‘s Till Eulenspiegel’s Merry Pranks ; while the orchestra was again listed as the Centennial Symphony—and the conductor not identified, the narrator, actor Richard Hale, was. Sexy Trippy All Moods. Cconcerto with Gertrude Robinson Smith he played a central role in developing the orchestra’s internationally acclaimed summer concert and educational programs at Tanglewood where today the 5,seat main performance venue bears his name.


She has been described as quiet, and soft-spoken, and Leonard Bernstein and Aaron Copland counted her among their close friends.

March 17, by ASO. Russian and French Music for Double Bass. But the score remained in manuscript even though the composer operated his own publishing company, and it went unplayed once Koussevitzky permanently put aside the bass inshortly after recording the concerto’s Andante movement with the Boston Symphony.

Concerto for double-bass & orchestra, Op. 3

Several years after Koussevitzky ‘s death, conductor Alfredo Antonini brought the work to light, and it has since become a staple of the limited double-bass concerto repertory. The work reflects his search for the yet unrevealed dimension of the doublebass, for as Mme. A full pause precedes the third movement, another Allegro, which begins with the same declamatory theme as the first movement. It is written in a turn of the century Russian bel canto style.

Double Bass Concerto, Op. In a letter dated April 9,Leopold Stokowski, the founder of the American Symphony Orchestra, invited me to appear with him in concert with a solo for doublebass and orchestra of my choice. Olga Koussevitzky, his widow, was positively adamant that he wrote the Concerto without the aid of any other musicians.

Naumova had lived with the couple and acted as their secretary for 18 years. InKoussevitzky commissioned Randall Thompsonthen a professor at the University of Virginia and director of the men’s Glee clubto write a new piece for performance at Tanglewood. The basic aim of the foundations was to assist composers by commissioning new compositions and underwriting the cost of their performance.

However, it is in the public domain in Canada where IMSLP is hosted and other countries where the term is life-plus years such as China, Japan, Korea and many others worldwide. After all, it is here that Koussevitzky speaks to us in his own language…as if from the grave. Introspection Late Night Partying. Please obey the copyright laws of your country.

Double Bass Concerto () — American Symphony Orchestra

Period Early 20th century Piece Style Romantic Instrumentation double bass, orchestra 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, harp, strings External Links Fleisher Collection.


It is very unlikely that this work is public domain in the EU, or in any country where the copyright term is life-plus years. Olga Naumova was the daughter of the distinguished politician and civil servant Aleksandr NaumovSimbirsk —Nice. October 17, — via https: Koussevitzky held the rights to this version for many years.

RCA Victor reissued several other historic orchestral recordings on its Camden label with fictitious names to avoid having them in direct competition with newer recordings by the same artists on RCA’s upscale Red Seal label. Keep us on point!

IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Yet there is a timeless universality in the melodrama of its passion and the soaring beauty of its tunes. In other projects Wikimedia Commons. It is unlikely that anyone but a doublebassist could have written a work so perfectly suited to the instrument.

The bass picks up this melody more ardently than before, and adheres to its contours more closely than before as it proceeds through a loose, rhapsodic restatement of the opening movement. Association for Recorded Sound Collections. By using this site, you agree to the Terms of Use and Privacy Policy. Koussevitzky’s appointment as conductor of the Boston Symphony Orchestra BSO was the beginning of a golden era for the ensemble that would continue until Creative Commons Attribution 4.

During many of my performances in the past few decades, several parapsychologists have told me that they too had seen the apparition, always wearing the same long frock and white gloves. Here, for the first time, the composer periodically takes the instrument into its lower range, but only briefly, usually in the course of weaving the melody up and down the staff.

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