An Historical Survey of Pedagogy and Performance

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Authors Boyd, Joseph Thomas

Publisher The University of Arizona.

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Link to Item http://hdl.handle.net/10150/624708 AN HISTORICAL SURVEY OF

DOUBLE BASS PEDAGOGY AND PERFORMANCE

by Joseph Thomas Boyd

A Document Submitted to the Faculty of the SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College

THE UNIVERSITY OF ARIZONA

1 9 78 THE UNIVERSITY OF ARIZONA

SCHOOL OF MUSIC

ï hereby recommend that this document prepared under my direction by JOSEPH THOMAS BOYD entitled AN HISTORICAL SURVEY OF DOUBLE BASS PEDAGOGY AND PERFORMANCE

be accepted in partial fulfillment of the degree Doctor of Musical Arts.

k )/44.-4 -2-F/ 11'78' Dr. Gordon Eppez Date Major Professor

After reading this final copy of the document indicated

above, the following members of the Final Examination

Committee concur in its approval and recommend its acceptance:

Professor John Fer 1

Professor Theodorà Mc1rillan

Date of Final Examination 'a281 1978" PREFACE

This document was written in preparation for a Lecutre Recital presented in the School of Music at the

University of Arizona on September 30, 1977. It was not intended to be a lengthy discourse on the pedagogy and performance practices of the double bass, but rather as a summary of the research for that recital.

Without the patient guidance of the author's major and minor professors, Dr. Gordon Epperson (Performance) and Dr. 0. M. Hartsell (Music Education), this paper could not have been possible. Special thanks also must go to fellow bassists and students Karla Ann Philipp and Judith Ann Mucciolo for their great assistance in gathering information necessary to make this a successful venture.

Thanks to all!

March, 1978 J. Thomas Boyd

iii TABLE OF CONTENTS Page

PREFACE iii

1. PEDAGOGY 1

Introduction t . 1 Introduction of the Individual Method Books . . 2 1. NEW METHOD FOR THE DOUBLE BASS by Franz Simandl 2 2. NUOVO METODO PER CO NTRABBä SSO by Isaia Bille. 3 3. METHODE COMPLETE POUR LA CONTRABASSE by Edouard Nanny 4 4. DOUBLE BASS METHOD by Ludwig Streicher 6 5. OTHER METHOD BOOKS 9

II. PERFORMANCE 13

Introduction. 13 Discussion of Three Important Bassists 15

1. DOMEI`TICO DRAGONETTI (1763- 1846) . . . . 15 Works for Double Bass . . . , . . . 18 2. (1821 -1889) 19 Works for Double Bass 22 3. SERGE KOUSSEVITZKY (1874 -1951) 23 Works for Double Bass 27

BIBLIOGRAPHY 28

iv I. PFnAGOGY

In the field of double bass pedagogy, method books play an important part in the development of any bassist. There have been so many method books written in the past two hundred years, but most of those books have now become for the most part obsolete or hard to find. Four method books seem to rise above all others in content and quality for the average bass player. These books are as follows: NEW METHOD FOR THE DOUBLE BASS Franz Simandl NUOVO METODO PER CONTRABBASSO Isaia Bille METHODE COMPLETE POUR LA CONTRABASSE Edouard Nanny DOUBLE BASS METHOD Ludwig Streicher In the order presented above, these fine books would make an excellent course of study for any serious bassist. In the following pages, a comparison of these four methods will be made, showing the advantages and /or disadvantages of each. The practical application of these books will be mentioned by the author, whose opinions are used to formulate this document.

It should be pointed out that each of the four method books mentioned above involves two or more volumes; therefore, the volume used for each book discussed in this document will be specified in the following comparison.

After the comparative study of the four methods will be a list of methods currently unavailable or out -of- print. 2

INTRODUCTION OF THE INDIVIDUAL METHOD BOOKS

NEW METHOD FOR THE DOUBLE BASS Franz SImandl

This method book, being in two volumes, comes with

German and English text. This is one of the finest works obtainable today, the contents being excellent and used by many leading teachers today. The second book deals with thumb position and advanced techniques. In the early

edition the second part of the method was obtainable in separate smaller sections. The thumb jumping in the higher positions is the only general fault player will find it easier to move across the strings and keep notes under the hand than to skip up and down the

strings as indicated.

Book One of this method is beautifully divided into sections which would greatly aid the younger bass player.

Simandl takes care to introduce the positions slowly and carefully. Exercises tend to become tedious after a while

due to the excessive use of sequences in the exercises.

However, a strong foundation will be gained if the student

uses this method.

Following a section of minor scales and exercises,

the student is introduced to the various types of ornamentation and the first volume is concluded with valuable orchestral excerpts. Teachers and students alike may find it a wise idea to supplement this method with other solos and etude materials.

NUOVO METODO PER CONTRABBASSO Isaia Billa A rather extensive work for the double bass, Billets method is comprised of seven volumes. The first part is contained in four books, gradually advancing through many exercises and the second part is in three books terminating with most detailed information and instruction on tuning, natural harmonics, artificial harmonics, and double harmonics. Sections of celebrated solos by Bottesini and others are included concluding with some bass solos with piano accompaniment. The fingering used is the old Italian

1-3-4 system, but the information is excellent and can be easily rearranged to accomodate the 1 -2 -4 system now used.

The text is written in Italian, French, and English.

The only real general fault with this method is that it tends to progress a little too rapidly, leaving the student stranded without help in later volumes. The exercises are quite through, but may seem a little too much for the average beginning bass student. If one were to be dependent on looking at fingerings while practicing, the

1-3-4 system of fingering could easily mislead a student 4 and cause confusion and frustration.

At the time of this writing, Part One- Volume Three

was the only readily available section of this method book.

In looking through this section, the author was surprised

to see very little or no explanation offered with the exer-

cises, particularly when it came time to change to various

keys, both major and minor. However, the exercises are

excellently written, without the monotony involved as in

Franz Simandl's work. Because of this, the student will

not greatly be bored with practicing out of this method.

As solos are included in the later volumes, it

would not really be necessary to have to bring in outside

materials for quite a while; therefore, the confusion of

doing this could be eliminated. If one chooses not to use

this method, there is another one which is quite as

acceptable as the Bille and could even be substituted for this method.

METHODE COMPLETE POUR LA CO;TRABASSE Edouard Nanny

Nanny's method book was originally published in two

books with the French, German, and English text (just as

the Bille book was). The first book deals with the posi- tions while the second deals with advanced techniques, bowing, double stopping, harmonic information, and many more advanced studies and exercises. This is one of the 5 best methods obtainable today, although it requires more practice patience than some others due to the exercises being rather labored. This method book is also the first one discussed to include a section on the five stringed bass (tuned G, D, A, E, C).

The major problem with the method is the omission of orchestral studies. Only the Simandl NEW METHOD FOR THE

DOUBLE BASS contains an extensive section particularly devoted to the study of orchestral parts. Nanny, like

Bille, also leaves a lot to be desired as far as having information concerning the various etudes and studies. The student is again left to decide how to perform (or even practice) many of the exercises, given only fingerings and articulations.

An excellent part of this method is the inclusion of extended fingerings (going out of a given position for notes not included in that position without shifting) and use of the thumb in lower positions. There are always cases when a student should be aware of these technical capacities, and Nanny is the first to introduce these ideas on an early volume. Part Two of this methods begins where Part One ends. The second part vo ul d be of valuable service to serious- minded soloists, although other books or exercises could better serve a bass student in that capacity. The 6

author introduces this method in about the fourth or fifth

year of study with students as Simandl could more or less

fulfill the needs of the earlier years of study. After a

year or two in the Nanny METHODE COMPLETE POUR LA CONTRABASSE, the student would be ready to move on to other methods, etudes, and solos.

DOUBLE BASS METHOD Ludwig Streicher

Not much is known about this particular method due to the fact that it is not yet published. In studying with Herr Streicher while in , this writer was most fortu- nate to receive a copy of the manuscript of this book for use in teaching, and it has proved a valuable addition to his collection of method books for the double bass. Origi- nally intended to be in two volumes, the DOUBLE BASS METHOD has a wealth of information in the form of exercises and studies intended to vastly improve any bassist willing to undertake it.

Volume Two (or the second part of the manuscript) is devoted to the development of the thumb position, advancing to virtuoso harmonic studies. Each chapter (or section) deals with each step /position in thumb position in the same manner as Simandl would, giving exercises on the basic finger patterns involved with each new position.

Streicher uses a great deal of folk -tune like material 7 making the exercises enjoyable to practice. Rather than including several exercises in each position, he employs

sections of either solos or orchestral passages which

would be relevant to that particular position. So instead

of just learning exercises or etudes, the average bass student learns difficult passages from solos or symphonic literature without even realizing it. In the back of the second part, a great deal of time is spent on harmonics, a necessary course of study for

any one desiring a life as a soloist. Again, he will break up various sections of famous solos and use these as exer-

cises. Streicher may even go so far as to completely

change the time signature of a certain solo passage to prove his point, but the time and effort put into such spots are well worth it. Teachers would not want to start students in this method book too early, but would be wise to begin in this

book as soon as it is practical to do so. Bassists will have a great deal to be thankful for when this method is eventually published. It would be a most valuable addition

to any library of double bass methods and solos. 8

With a discussion of these four method books completed, it might be a wise idea to bring to mind the fact that there have been several method books written for the double bass throughout history. In fact, thirty -three more can be accounted for (as will be shown in the next few pages), not a bad number at all for an instrument which supposedly suffers from the laac of music for its existence. However, while there are still more to be mentioned, many of these older books are now out -of -print or almost impossible to obtain, excluding many from being used on a regular basis. Because of this fact, bassists are really limited in that they can do to advance the quality of musicianship on an instrument once never considered as a solo vehicle. 9

OTHER METHOD BOOKS

A verly large number of method and study books for the double bass are now out pf print and difficult to

obtain. As one can occassionally find a secondhand copy,

the list of methods which follows will doubtless be useful

to would -be students and teachers. Where exceptions are

stated, the methods listed all follow the standard tuning and fingering practices in use today.

B. ASIOLI- Clenched fingering 1 -L1 and 1 -3, now outmoded.

T. BATTIONI- Uses 1 -3 -4. fingering, rendering it obsolete.

F. BERNIER- One volume comprising studies for two basses.

*G. BOTTESINI- General text excellent, but for the three - stringed bass.

: ITALO CAINYI- Uses the outmoded 1-3-4. fingerings. *EUGENE CRUFT- The book uses, with very little exception, excerpts from well -known orchestral works. Harmon- ics taught as student progresses through positions, assisting intonation.

*A. F. CUNEO- 1 -3-4 fingerings which could be rewritten for students.

CHARLES DELAJIOUR- A very short, rather scanty work, mainly involving the three stringed bass.

CHARLES DOLLER- 1890. A small book of little merit. *T HEODOR ALBIN FINDEISEN- In four books. The method for holding the French bow is obsolete. Little information on fingering systems. 10

F. C. FRANKE- An unusual method calling for a semitone between each finger the total span being one and a half steps. This would require that the player have a very large hand.

WM. GODDON- Exercises are useful although they are for the three stringed bass; fingerings are outmoded.

*ACH. GOUFFE- The exercises are progressive. Excellent studies for the orchestral bassist. Two volumes.

J. HAMILTON- Exercises are of merit; fingerings are old.

W. HAUSE- The German bow is used; 90 progressive exercises. *HEINZ HERMANN- German and French bows are shown in pictures of the author. Progressive exercises are excellent. *ANTONIO INGLESE- For the five stringed bass with the now outmoded 1 -3 -4 fingering system.

JOSEPH KRAJO- Good exercises with the 1 -2 -4 system.

*CHARLES LABRO- 1860. Good work with modern tuning and fingering. * GUSTAV LASKA Good progressive studies with piano accompaniment. *ADOLF LOTTER- Advances too quickly to upper positions, but overall an excellant source for exercises.

*GIUSEPPE MARANGONI- 1 -3 -4 system. Studies progress nicely without the 1 -2 -Li. system.

*H. MICHAELIS- A useful work, using the German bow.

*LAJOS MONTAG- The contents are in strict accordance with present day fingerings and technique. Famous solos end each volume.

*CARLO MONTANARI- Obsolete 1 -2 -3 -4 fingerings used.

L. F. ROSSI and G. ANGLOIS- Only for the three stringed bass. Fingering is 1 -2 -4 up to the fourth position when the third finger is introduced. 11

W. SHDANOFF- Of little importance since the fingering system is obsolete.

FRANZ SIMANDL- Gradus ad Parnassum. 211 fine progressive studies.

ALWIN STARKE- A very good work but not too lengthy; has information about the five stringed bass. WILHELM STURM- Modern fingering system is employed. Good text.

FR. WARNECKE- The Study of the Double Bass. Well intended illustrations and a first -class work. This book describes in detail various fingering systems.

*A. C. WHITE /ESCHLIN- Earlier exercises are scanty, but later orchestral studies are excellent for the student's use. Excellent plates showing the proper position for holding the bass and bow.

Indicates editions of methods which are still readily available today.

13

II. PERFORMANCE

When one considers the role of the double bass

throughout history, the names of three men come immediately

to mind. These great virtuosi are Domenico Dragonetti 0743-1846), Giovanni Bottesini 0821-1889), and Serge Koussevitzky 0874- 1951). Each of these men have in their own way contributed to the development of the double bass

as a solo vehicle, a tradition which is still carried on by

such greats as Gary Karr, Jean-Marc Rollez, and Ludwig Streicher.

In the following pages the writer will attempt to convey the importance of these men, with references to their lives and music, and why they are considered the greatest among double bassists. All three were in some way influenced by great of their time -- Dragonetti by Beethoven, Bottesini by Verdi, and Koussevitzky by Rachmaninoff. Because of these relationships with these composers, double bassists have had a good many orchestral part written besides just the fundamental harmonies which

bassists are usually relegated to playing in the .

The virtuosity and artistry of Dragonetti,

Bottesini, and Koussevitzky as performers should be noted. They are also remembered for their enormous contributions 11_ as teachers and composers in the field of double bass performance. Information about each man follows. 15

DOMENICO DRAGONETTI (1763-1846)

The earliest of the virtuoso double bassists was a man who was largely self- taught, with the exception of a few lessons in his early years, and who became the greatest double bassist of the early nineteenth century. Domenico

Dragonetti was born of poor parents in on April 7,

1763. His father, a part time tympanist, also played the double bass as well as the guitar. Domenico learned to play the guitar at the early age of seven and soon devel- oped an interest for the double bass. After the realization that he could play just as well as his father if not better, he began lessons with a certain Michele Berini, principal bassist of the Ducal Chapel of Saint Marks. Very soon Dragonetti was playing better than Berini, and eventually assumed the principal bass position at Saint harks upon Berini's death. His virtuosity became well known around Venice, and soon his fame spread to distant lands.

In September of 1794, he took a two year leave of absence to travel to and present recitals. From this time on, he was never to return to the Ducal Chapel in Venice except for an occassional visit while on vacation. Taking the position on the first desk of the 16

Royal in , he soon became close friends with the celebrated cellist Robert Linley, with whome he was to

share a desk for the next fifty years.

Because of his exceptional sight-reading ability and his exceedingly large and powerful hands, Dragonetti was able to play virtually any piece of music placed in fromt of him. His Gasparo da Salo bass was equipped with a high bridge making the strings considerably higher off the fingerboard than on a conventional bass. Dragonettits most notable contribution to the art of double bass playing was his development of what we know today as the German bow. This stick with a high arched

curve and a large frog with which an underhanded grip is employed was the forerunner of the modern German, or

Butler model, bow. This bow is today considered awkward

to play with, and the trend now leans towards the French model (smaller frog similar to a violin bow). Dragonetti, having a three stringed bass, dbvised

his own system of tuning as well as his own fingering

system. The modern system of 1-2-4 was further enhanced

by the use of the thumb and third finger (T- 1- 2 -3 -1), therefore employing all five fingers in a system now considered obsolete and no longer used. As far as his own tuning, the system was never passed on after his death.

As mentioned earlier, Dragonetti's influence on 17

Beethoven can be seen in the late , particularly in the Scherzo of the Fifth and in the opening recitative of the finale of the Ninth Symphony. It was around the time of the composing of the Fifth Symphony that

Beethoven and Dragonetti met and developed a friendship that was to last until the formers death in 1827. Beethoven must have been astonished by Dragonetti's technical prowess on the large instrument, and bassists of today can be thankful for such marvelous orchestral parts given us by Beethoven because of Dragonetti.

Several , , and short pieces are attributed to Dragonetti -- the . A great deal of arpeggiated and harmonic (flageolets) passages abound in his music, considered quite virtuosic in nature for his time. Typically classical in style, Dragonetti's music is still considered to be among the mainstays in double bass music today. The in A Major is considered his finest work and is a prime example of the lyrical style of writing for which he was well known.

After a long and full life, Domenico Dragonetti died in London on April 16, 1846, at the age of eighty - three. He made a great many contributions to double bass performance before his death, not only in raising to solo caliber the double bass, but also in supplying more music for an instrument with very limited repertoire. 18

DOMMICO DRAGONETTI Works for Double Bass

ETUDES

Five Studies for Contrabass UNACCOMPANIED SOLOS

Six Waltzes for Double Bass Alone SOLOS WITH PIANO

Adagio and Rondo, No. I. Andante and Allegro ::Andante and Rondo Andantino and Presto Bantis Bravura Pahsage *Concerto in A Major *Grande Allegro *Pezzi di Concerto, No. 7 Pezzo Concerto Bravera 2. Pezza da Concerto Quintetto No. 2 (double bass solo with string Serenata quartet) Solo in D Major Solo in D Minor Solo in E Minor Solo in G Major Solo -Piece No. 6 in A Three Waltzes Twelve Waltzes in Similar Character Twelve Waltzes *Variations Brilliante

*Also for double bass with orchestra 19

GIOVAN1V'I BOTTESINI (1821-1889)

The age of Romanticism is generally considered to span the years 1820 -1890. Giovanni Bottesini' s life almost covers that same period entirely, being born in Crema on

December 24, 1821, and dying in Parma on July 7, 1889. He had a musical childhood, studying the violin at age ten, and singing in church as well as playing drums until the age of thirteen.

At the early age of thirteen, he entered the Milan

Conservatory on a scholarship. At the time of his entrance the only available scholarship was for a double bass position. He agreed to play the bass (due to his earlier violin instruction) and began studying under Rossi. He eventually left the Conservatory because of his desire to compose music and perform.

Upon leaving the Conservatory, he acquired a

Testore bass, a three stringed instrument which he had for the rest of his life. He tuned the instrument a tone higher than the normal double bass achieving a brighter tone color and also making more accessible the more difficult chordal passages. He soon began a career as a solo bassist which was to take him to many countries and introduce the double bass as a solo instrument to many 20 people everywhere.

Known primarily as a double bassist, Bottesini was also quite a prolific composer and conductor. His greatest achievement in the field of conducting was the honor of the world premiere of Verdi's opera, AIDA. He developed a strong relationship with Verdi which resulted in such double bass passages as the duet in Act One of RIGOLETTO and the bass solo in Act Four of OTELLO. Bottesini also wrote many during his career.

His admiration for opera was also to influence his double bass music, especially the ideas of bel canto style, particularly the melodies most of which are in an aria style of composition. He wrote several fantasias on themes of the well known opera of Bellini (NORMA, LA SONI'TAMBULA, and ) . His music is full of glissandi and portamenti.

Being a Romanticist by nature, Bottesini's music is full of legato, portamento, ritards, rubatos, extreme dynamic changes, and excessive vibrato. Also, a sense of humor seems to pervade the music of Bottesini. In addition to some twenty pieces written specifically for the double bass as a solo instrument, Bottesini also wrote a method book for the three stringed bass, a pedagogical reference which is now considered obsolete due to the lengthy discourse on the three stringed bass and also the use of 21 now outmoded fingering systems.

The Romantic period was a period of expansion as far as instrumental technique was concerned. The develop- ment of the present -day French bow is a noteworthy contribution by this bassist. The French bow is held and played similarly to that of the violin and . The expansion of the range of the instrument was the other notable contribution of Bottesini's. He would move up gradually to higher note ranges rather than by wide leaps to keep the intensity full on the string as he moved into the higher positions. The "Chopin of the double bass" is a title given to

Bottesini because of his highly Romantic involvement with the double bass and its music. Although his music is considered minor and quite trite, double bassists still strive for the opportunity to learn and perform music written by Bottesini, which has now become a most integral part of the development of any bassist's career. The

extreme uses of harmonics and leaps in the melodic line of his music makes Bottesini's music a challenge for bass players. The triteness becomes secondary when one can

have the satisfaction of conquering the difficulty of this music and be able to perform it. 22 GIOVANNI BOTTESINI

Works for Double Bass

METHODS

A Short Method Double Bass Method ETUDES

2L. Exercises SOLOS WITH PIANO

Arias for Double Bass Cappriccio Bravura Concerto No. 1 in B Minor Concerto No. 2 in F# Minor Concerto di Bravura Concerto in G Minor Elegy in D Major Fantasie on Sonnambula Introduction and Variations on Carnival of Venice Melodie Capriccio Melodie Reverie Studien -Konzert in F# Minor Tarantelle MUSIC FOR TWO DOUBLE BASSES Duets Gran Duetto Passione Amarose (with piano) MUSIC FOR TWO INSTRUMENTS Grand Duo Concertante (for violin and bass) Grand Duo for Clarinet, Double Bass, and Piano

' Tutto il mondo serra" (for soprano, bass, and piano) 23

SERGE KOUSSEVITZKY (1874-1951)

Serge Koussevitzky, born on July 26, 184, in the little hamlet of Vishny Volotok, Russia, came from a musical family although little effort was made by his parents to encourage his career in music during his youth.

At seventeen he decided to attend the Moscow Conservatory, hoping to receive a scholarship to be able to attend. When he arrived, the session was already in progress, and he was unable to enter unless he accepted the only available scholarship -- for the double bass. He proved to be an excellent bassist and had a fantastic capacity for learning this large instrument, and within three years he bacame a member of the Imperial Bolshoi Opera Orchestra.

At the age of eighteen, he made his first solo recital appearances and continued to appear regularly as a bass soloist. In 1901, his teacher at the School of the Philharmonic Society died, and Serge was asked to replace him as well as take over as principal bassist of the Bolshoi Orchestra. Aiding the young Russian artists was one of the primary goals Koussevitzky strived for all through his life. In 1905, he was married to Natlya Konstantinovna

Ushkow, daughter of a wealthy Russina merchant. Thus making Koussevitzky an independently wealthy man, he used much of this wealth to aid in his crusade for the young, starving artists of Russia.

Koussevitzky tuned his bass, a beautiful instrument by Amati, up a whole tone higher than usual (just as Bottesini had done earlier) achieving a more brilliant sound with the strings in A, E, B, and F# rather than the usual G, D, A, and E. This same instrument is now used by another great bassist, Gary Karr. With a beautiful bass at his disposal, Serge soon began to consider the possibilities of expanding the literature for the instrument. Realizing that the available solo repertoire for the bass was considerably lacking, Koussevitzky began to write his own original compositions, including three short pieces and a concerto. The Concerto in F# Minor, Opus 3, is undoubtedly his finest work for the instrument and one of the most popular and frequently performed bass concertos. Besides his original works, Koussevitzky's greatest contributions were in the form of transcriptions of major works originally for other instruments. Among these are works by Mozart, Handel, Eccles, Strauss, and Bruch. Leaving Russia, Koussevitzky and his wife went to

Paris in 1920 for four years, during which time he concertized, conducted, and established a publishing house for his young Russian artists to have their works pub- lished. It was not until 19211, that Koussevitzky finally 25 came to America to conduct the Boston Symphony, and in

1927, gave his first American recital as a bassist. This recital was on October h, 1927, and was given as a benefit for the needy Russian students in the United States and abroad. He appeared three times more as a recitalist after this benefit uerformance, the last recital being given in 1931. He was never again to appear on the concert stage in the capacity of a bassist, turning his attention solely to conducting.

Recordings of Serge Koussevitzky as a double bassist still exist today, and show us that he was quite a remarkable instrumentalist and bass technician. Made in

1927, these recordings prove that he had great potential as a bassist, but by today's standards, his playing is not stylistically acceptable. Reviews of these recordings and also of his live performances were mixed, stating that the technique is superb, the intonation is excellent, but that the sound and manner of his playing sounded tired.

Various members of the International Society of

Bassists are striving to have these mow out -of -print recordings placed back on the open market. If they succeed, the young bassists of today would have a valuable document of double bass performance of the past.

Presently, Serge Koussevitzky is remembered mainly as an orchestral conductor rather than as a bassist which 26 is a great shame as his virtuosity served an important role in the development of the bass as a solo vehicle.

The double bass served as a large part of his career and will always be remembered through his music and his recordings. 27

SERGE KOUSSEVITZKY Works for Double Bass

SOLOS WITH PIANO

Chanson Triste, Op. 2 Concerto in F# Minor, Op. 3

Humoresque, Op. -i Valse Miniature, Op. 1, no. 2 SOLOS WITH ORCHESTRA

Concerto in F# Minor, Op. 3 TRANSCRIPTIONS

Eccles, Henry for Cello in G Minor Bruch, Max Kol Nidre Mozart, W. A. Concerto for Bassoon, K. 191 Handel, G. F. Concerto for Oboe Sonata for Violin Scriabin, A. Two Etudes Strauss, R. Sonata for Cello Rachmaninoff, S. Vocalise (from 14 Songs, 1912.) 28

BIBLIOGRAPEI

MUSIC

Bille, Isaia; NUOVO METODO PER CONTRABBASSO, Part One, Volume Three, G. RICORDI & CO. Nanny, Edouard; METHODE COMPLETE POUR LA CONTRABASSE, Volume One. ALPHONS L DUC & O., 1 0. Simandl, Franz; NEW METHOD FOR THE DOUBLE BASS, Volumes One and Two. CARL FISCHER, INC., 1904.

Streicher, Ludwig; DOUBLE BASS METHOD, Second part of a manuscript copy unpublished as of this writing.

BOOKS

Benfield, Warren; THE ART OF DOUBLE BASS PLAYING, SUMMY- BIRCHARD PRESS, Evanston, Ill., 1973.

Elgar, Raymond; INTRODUCTION TO THE DOUBLE BASS, Published by the Author, Sussex, England, 1960.

MORE ABOUT THE DOUBLE BASS, Sussex, England, 1963.

LOOKING AT THE DOUBLE BASS, Sussex, England, 1967. Grodner, Murray; COMPREHENSIVE CATALOG OF THE AVAILABLE LITERATURE FOR DOUBLE BASS, LEMUR MUSICAL RESEARCH, T3M357111-7FEETThirEdition,Bloomington, 1974. Stanton, David; THE STRING (DOUBLE) BASS, =3 INSTRUMENTALIST, Evanston, Ill., 1965.

Zahtilla, Paul; SUZUKI IN THE STRING CLASS- "An Adaptation of the Teachings of Shinichi Suzuki ", SU 1MY- BIRCHARD PRESS, Evanston, Ill., 1972.