These are two works in the tradition of Russian late-Romanticism, but on the verge to modernism. Prokofiev: Piano Concerto no. Around this same time, he finished his composition studies, during which he had composed a number of symphonic works, a piano sonata and several character pieces for piano. Prokofiev had originally conceived the concerto as two separate compositions for piano and orchestra: one was to be a concertino for students to perform, and the other was a more demanding and virtuosic piece for himself. In the end, he combined the material to create the concerto that we know today. At the time when the piano concerto was premiered, however, it was not understood by everyone.
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The five previously published works, with the publication of this document, are now augmented by three new etudes for solo double bass Allegro, Allegro molto, Andante as well as two arrangements for double bass and piano Vocalise, Kol Nidrei.
The history of these compositions is only partially clear and impossible to fully reconstruct. Additionally, recently discovered documents and correspondence clearly indicate the Double Bass Concerto, often attributed to Reinhold Gliere, was indeed composed by Koussevitzky.
In total, thirty-four works can be attributed to Koussevitzky, either as original compositions or arrangements. Through his musical direction and guidance, the Boston Symphony Orchestra, the Tanglewood Music Center, and eventually the Serge Koussevitzky Music Foundation, Koussevitzky placed an emphasis and commitment to new and original composition, an exercise he apparently practiced himself throughout his entire career.
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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. Early in his international career as a solo doublebassist, Koussevitzky diligently worked toward increasing his repertoire. Surprisingly, he did not encourage the prominent composers of the time to write for his instrument. Nevertheless, later, as conductor of the Boston Symphony, he commissioned many of the most important orchestral compositions of the first half of this century. Perhaps his passionate interest in new music and his distinctive programming hearkens back to the days as a doublebass soloist when he had to grapple with the paucity of repertoire available to him. Natalie Ouchkoff, whom he married in , the year in which the work was first performed with the Moscow Philharmonic. It is written in a turn of the century Russian bel canto style.
Double Bass Concerto, Op.3 (Koussevitzky, Serge)
Legendary Koussevitzky Double Bass an “Old Friend” to Eastman Professor
He also learned trumpet. He excelled at the bass, joining the Bolshoi Theatre orchestra at the age of twenty, in , and succeeded his teacher, Rambusek, as the principal bassist in In he married the dancer Nadezhda Galat. The programs included many new works. In , he left Soviet Russia for Berlin and Paris. However, he continued to return to Paris in the summers to conduct his Concerts Koussevitzky until In he and his wife became United States citizens.
More by Serge Koussevitzky
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. 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. As this work was first published before or failed to meet notice or renewal requirements to secure statutory copyright with no "restoration" under the GATT amendments, it is very likely to be public domain in the USA as well. Double Bass Concerto, Op. Please obey the copyright laws of your country. 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. Incipit I.