Serge Koussevitzky - Double Bass Concerto, Op. 3 (1902)
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- Опубликовано: 16 июл 2024
- Serge Alexandrovich Koussevitzky (Russian: Серге́й Алекса́ндрович Кусеви́цкий; Sergey Aleksandrovich Kusevitsky; July 26 [O.S. July 14] 1874 - June 4, 1951) was a Russian-born conductor, composer and double-bassist, known for his long tenure as music director of the Boston Symphony Orchestra from 1924 to 1949.
Double Bass Concerto in F-sharp minor, Op. 3 (1902)
1. Allegro (0:00)
2. Andante (5:59)
3. Allegro (12:00)
Gary Karr, double bass and Berlin Radio Symphony Orchestra conducted by Uros Lajovic.
Unfortunately I couldn't find the score used in this recording and used the original score.
Description by James Reel [-]
Sergey Koussevitzky is remembered as a significant conductor with a vital interest in the music of his time, but he started out as a touring double-bass virtuoso. Sometime between 1902 and 1905 (sources vary), just before he turned his attention to conducting, he composed a concerto for his instrument -- possibly with the help of Reyngol'd Glière, although this is disputed. And the work, instead of following the most progressive tendencies of its time (as one might expect, judging from Koussevitzky's later tastes in composers), is a ripe example of Russian Romanticism.
Koussevitzky dedicated the concerto to his fiancée and gave its premiere in Moscow; he played it subsequently in Germany, Paris, and Boston. 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 in 1929, shortly after recording the concerto's Andante movement with the Boston Symphony. 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 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. The soloist takes up the opening motto, presenting it lyrically yet passionately. The solo line seamlessly threads its way into related material sounding very much like passages of the Dvorák Cello Concerto, and eventually offers a songful second subject. Koussevitzky dwells on this Dvorákian material without providing a full development, then fashions a modest bridge to the Andante, which sounds much like an aria from a Tchaikovsky opera. 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. 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). A full pause precedes the third movement, another Allegro, which begins with the same declamatory theme as the first movement. 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. 
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I am a bass player and this is amazing music!! im soon going to be playing music like this, im excited
Dvorak anyone?
Nice to hear this, thanks Bartje for posting
Thanks for this fantastic thrilling post👍👏👏👏👏
Thank you so much!!!
Szergej Kuszevickij:Fisz-moll Nagybögőverseny Op.3
1.Allegro 00:05
2.Andante 05:59
3.Allegro 12:00
Gary Karr-nagybögő
Berlini Rádió Szimfonikus Zenekara
Vezényel:Uros Lajovic
Köszönöm az értékelést
Very interesting piece. It's beutiful
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@Jett Rex i would suggest FlixZone. Just google for it :)
Stupendo Maestro buona giornata a tutti
very interesting read , thanx....
Quite a drastic revision of orchestration. If nothing else, it's interesting to compare.
17:05 The Solo Bass can actually play the Tutti Passages with the Bass section.
No one can make the bass sing like Mr. Karr. He is the best.
Amen you can say that again!
🔥🔥
I believe in this recording Karr is using Koussevitsky’s bass.
👏👏👏👏👏
The score is VERY different from the performance provided.
Isn't that obvious?
most bassists use the "Ludwig" arrangement instead of of Koussevitzky's score for a couple reasons: -a myriad of typos, misprints, and entire lines of incorrectly transposed music for clarinet and horn. -the original orchestration makes the bass play over forces larger than a lot of violin concertos, which is impossible to do well live, even with amplification.
@@tchaikoffkey didnt Koussevitzky own/operate a printing company though, so thats interesting for his score to have such typos and errors. I heard he kept this concerto in score form on manuscript paper but never made it printed out
Alongside Pierre Boulez, Esa Pekka-Salonen and Leonard Bernstein in the conductors-composers list
It's so high for CB… Why didn't he just write it for cello or even a viola?
Nothing is "too high" for the doublebass, I'm double bassist myself and i know what I'm talking about. It simply projects a sound a lot better, than in the lower positions. Because of this, composer exploits the middle and upper ranges of his instrument, so that his instrument wouldn't be overshadowed by woodwind-tinged orchestration. Doublebass isn't very loud instrument, despite it's size. Look at the description of this video for the explanation. After all, this is the concerto, not an orchestral excerpt. Any other stupid questions?
Because Koussevitzky was a Double Bassist and there aren't that many Double Bass Concertos as Cello Concertos or Violin Concertos etc. Also, The double bass produces a richer, heavier yet prettier sound. Besides, it's not too high. The double bass can hit those notes just like the cello and viola like you mentioned.
Even if they play the same note the body and color of that same note Is different and that distintic sound can transmit diferent feelings