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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Natalie Ouchkoff, whom he married inthe year in which the work was first performed with the Moscow Philharmonic.
Get to Know the ASO. The basic aim of the foundations was to assist composers by commissioning new compositions and underwriting the cost of their performance.
Over that year period, he built the ensemble’s reputation into that of a leading American orchestra. In he and his wife became United States citizens.
Double Bass Concerto, Op.3 (Koussevitzky, Serge)
Koussevitzky’s second wife Natalie died inand he created the Koussevitzky Music Foundations in her honor. Concerto for double-bass Op3. 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. It was that vision which convinced her that his Amati, which I am playing tonight, should be in my hands.
She has been described as quiet, and soft-spoken, and Leonard Bernstein and Aaron Copland counted her among their close friends. He also learned trumpet. Retrieved from ” https: The Virtuoso Romantic Double Bass. Duration 20 minutes Composer Time Period Comp. Wikimedia Commons has media related to Serge Koussevitzky. Koussevitzky died koussevitzkj Boston in and was buried alongside his wife Natalie at the Church on the Hill Cemetery in Lenox.
The soloist takes up the opening motto, presenting it lyrically yet passionately. Sexy Trippy All Moods. Double Bass Concerto, Op. AllMusic Featured Composition Noteworthy. Now, even as a dapper ghost, the figure of the great Serge Koussevitzky still haunts the concert stage.
Rainy Day Relaxation Road Trip. See The Koussevitzky Music Foundations official web site. Nevertheless, later, as conductor of the Boston Symphony, he commissioned many of the most important orchestral compositions of the first half of this century.
After all, it is here that Koussevitzky speaks to us in his own language…as if from the grave. His koussevtzky can be transliterated variously as “Koussevitzky”, “Koussevitsky”, “Kussevitzky”, “Kusevitsky”, or, into Polish, as “Kusewicki”; however, he himself chose to use “Koussevitzky”. With the Boston Symphony he made numerous recordings, most of which were well regarded by critics. Koussevitzky was a great champion of modern music, commissioning a number of works from prominent composers.
Early in his international career as a solo doublebassist, Koussevitzky diligently worked toward increasing cocerto repertoire. Robert Forbergn. Views Read Edit View history. Return to top of page. Surprisingly, he did not encourage the prominent composers of the time to write for his instrument.
Jurgenson Scores Koussevitzky, Serge Romantic style Early 20th century Concertos For double 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 Pages with arrangements Works first published in Works first published in the 20th century Pages with commercial recordings Pages with commercial recordings Naxos collection F-sharp minor.
Konzert, Op. 3, für Kontrabass mit Klavier / Serge Koussevitzky.
There has been a considerable debate, mostly among doublebassists, as to whether or not Koussevitzky wrote the Concerto himself. When I heard this strange, soft-spoken, aristocratic Russian accent, I thought that it was a friend playing a practical joke on me.
Inthe morning after I played my debut recital in Town Hall, I received a surprise call from Mme. April 24, — via http: 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.
During his time in Paris in the early s he programmed much contemporary music, ensuring well-prepared and good quality performances. 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.
Click here to subscribe. However, he continued to return to Paris in the summers to conduct his Concerts Koussevitzky until