Serge Koussevitzky

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Koussevitzky, Serge


(Sergei Aleksandrovich Kusevitskii). Born July 14 (26), 1874, in Vyshnii Volochek; died June 4, 1951, in Boston. Russian conductor, double-bass player, and music figure.

Koussevitzky graduated in 1894 from the Moscow Philharmonic Society’s Music and Drama School, where he studied double bass; he became an instructor there in 1901. He gave double-bass recitals in Russia and abroad. He moved to Berlin in 1905, where he studied conducting with K. Muck and F. Weingartner and performed as a conductor. He founded the Russian Music Publishing House in 1909 to popularize the works of Russian composers. That same year Koussevitzky formed a symphony orchestra in Moscow with which he toured many Russian cities. From 1917 to 1920 he headed the State Symphony Orchestra (formerly, the Court Symphony Orchestra, Petrograd).

Koussevitzky moved abroad in 1920. From 1924 to 1949 he was chief conductor of the Boston Symphony Orchestra, with which he was the first to perform a number of new compositions, including Prokofiev’s Fourth Symphony, Stravinsky’s Symphony of Psalms, Honegger’s First Symphony, Roussel’s Third Symphony, and Messiaen’s Turangalîla-Symphonie (many of them were written at his urging). Koussevitzky gave the first US performance of Shostakovich’s Ninth Symphony and Prokofiev’s Fifth. In 1943 he became president of the music section of the National Council of American-Soviet Friendship.

Koussevitzky’s conducting was distinguished by smooth technique and the ability to combine emotion with self-control; his exacting standards brought his orchestras to a high level of technical perfection. Koussevitzky composed for the double bass.

The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
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At that time I remember I was writing my Lamentations and could work with such peace!" In a memorial to Serge Koussevitzky, Ginastera described Tanglewood as that privileged place "where, like many young composers, I discovered the secret path to my future musical life." (20)
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Many letters show Copland's relationships with the two foremost conductors who promoted his works during their influential careers: Serge Koussevitzky and Leonard Bernstein.
Although critically acclaimed and beloved by musicians, the orchestra informed Monteux in 1924 that he would be succeeded by Serge Koussevitzky because their policy was to change conductors every five years.
Yun adds a second dedication "for the Serge Koussevitzky Music Foundation in the Library of Congress, and dedicated to the memory of Serge and Natalie Koussevitzky." A long, slow solo in the upper range of the oboe, with intense variations in dynamics, sets up a series of exchanges among sections of the orchestra mostly cast in melodically slow-moving textures featuring held notes or tremolos.
Kennedy (2), Otto Klemperer (4), Serge Koussevitzky, Leipzig Conservatory, Paul Le Flem, Daniel Lesur, Dinu Lipatti (2), Arthur Lourie, Lorin Maazel, Igor Markevitch, Jean Martinon (2), Bohuslav Martinu (7), Olivier Messiaen (2), Darius Milhaud (7), Pierre Monteux (6), Celestine Munch (7), Fritz Munch (2), Walter Piston (2), Francis Poulenc (8), Serge Prokofiev, Jean Rivier, Guy Ropartz (10), Albert Roussel (5), Mme Francis Salabert, Florent Schmitt (2), Arnold Schoenberg, Albert Schweitzer (4), William Schuman, Strasbourg's Mayor [not named], Joseph Szigeti, Alexandre Tcherepnine (6), Jacques Thibaud, Arturo Toscanini, Walter Toscanini, Wanda Toscanini, Triton Concerts [no person named], and Heitor Villa-Lobos.
His orchestral works were actively championed by Arthur Nikisch, Carl Muck, Pierre Monteux, Walter Damrosch, Nikolai Sokoloff, Serge Koussevitzky, Frederick Stock, Howard Hanson, and Leopold Stokowski, and also received performances at the hands of Gustav Mahler, Richard Strauss, Bruno Walter, and Fritz Reiner.