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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Concerto for double-bass &… | Details | AllMusic
Inhe left Soviet Russia for Berlin and Paris. His surname can be transliterated variously as “Koussevitzky”, “Koussevitsky”, “Kussevitzky”, “Kusevitsky”, or, into Polish, as “Kusewicki”; however, he himself chose to use “Koussevitzky”.
Creative Commons Attribution 4. RCA Victor reissued several other historic orchestral recordings on its Camden label with fictitious names koussevihzky avoid having them in kossevitzky competition with newer recordings by the same artists on RCA’s upscale Red Seal label.
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Keep us on point! Double Bass Concerto, Op. 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
Concertos ; For kouasevitzky bass, orchestra ; Scores featuring the double bass ; Scores featuring the orchestra ; For orchestra with soloists ; For double bass, piano arr ; Scores featuring the piano ; For 2 players.
From Wikipedia, the free encyclopedia. After all, it is here that Koussevitzky speaks to us in his own language…as if from the grave.
InKoussevitzky commissioned Maurice Ravel ‘s arrangement of Modest Mussorgsky ‘s suite for piano, Pictures at an Exhibitionwhich was premiered base 19 October that year  and quickly became the most famous and celebrated orchestration of the work. The concerto falls into the conventional three movements, beginning with an Allegro that opens with a declamatory, Tchaikovsky -like theme succinctly stated by the orchestra, and answered by a short bass recitative.
With the Boston Symphony he made numerous recordings, most of which were well regarded by critics.
Serge Koussevitzky – Wikipedia
Listening to the great singers of his day, trying to imitate their vocal art, he was not merely playing on a string instrument, he was singing through the voice of the doublebass. The soloist takes up the opening motto, presenting it lyrically yet passionately.
The Virtuoso Romantic Double Bass. Wikimedia Commons has media related to Serge Koussevitzky. Koussevitzky ultimately rerecorded the piece in Tanglewood with Eleanor Roosevelt during the summer of on magnetic tape; issued on three 45s and a inch LP, it has never been reissued officially by RCA in spite of the popularity of the Camden disc with Hale. Koussevitzky died in Boston in and was buried alongside his wife Natalie at the Church on the Hill Cemetery in Lenox.
The basic aim of the foundations was to assist composers by commissioning new ,oussevitzky and underwriting the cost of their performance. In the early s, he discovered a young tenor named Alfred Cocozza who would later be known as Mario Lanzaand provided him with a scholarship to attend Tanglewood. Rainy Day Relaxation Road Trip. Russian and French Music for Double Bass.
Now, even as a dapper ghost, the figure of the great Serge Koussevitzky still haunts the concert stage. March 17, by ASO. Together 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.
Nevertheless, later, as conductor of the Boston Symphony, he commissioned many of the most important orchestral compositions of the first half of this century. It is unlikely moussevitzky anyone but a doublebassist could have written a work so perfectly suited to the instrument. Jazz Latin New Age. Romantic Evening Sex All Themes.
For the most part, Koussevitzky exploits the instrument’s middle and upper ranges, where it projects better, and is careful not to let the woodwind-tinged orchestration overpower the bass which is not a loud instrument, despite its size. Over that year period, he built the ensemble’s reputation into that of a leading American orchestra.
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