Bass

Solo
Concerto for Double Bass and Orchestra


I Serge Koussevitzky

       
         
Ed. Isaac Trapkus (1874-1951)

         
  
  
 

   


    

Allegro

  

   
   
         


       
  
     


   
    
9

        


           
 
18 Alla breve

                    


   
3

   
24

       
 3 

                 
  
31

   

          
 

  
         
  
40 a tempo


rit.


       
    
 3

        
  
49

 


                


  
         

52

 


    
    

58 rit.

This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License.
  
                    
       
a tempo
61 3



    
                      
poco rit.
63
*)

          
          
      
65 a tempo

    


        
           
67

  
    


                

                   
69

      
 

        



               
        
 


71 **)

              
                     
 cresc.

 
73

                                  
 


75


 cresc.

   
    
77


*Alternate slurring shown by dashed lines.
** Another option is to play mm.71-72 all separate starting down bow.

2 This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License.
     
  
             
Alla breve
a tempo
82 rit.



 


  
            
88


                   

93

 

              
           
99

 

    
                  
105




             
         
110




          
 
       
115

 

  
            
122

This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License. 3
       
                                  
128

                                
               
130

         
                      

132

                                  
                    
134


                                   
137

                       
                         
139

      
           
    
  
141
*)

          

   
143

* This passage can be played slurred or all separate.

4 This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License.
 II
  Andante                        
   


                   
         

8


    
 

      


      
        
 

16

 
      
         
       
   
24

   

     
              
     
31

    
                        
     
33




             
 
          
     
  
36

3


          
 


        



         
39



This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License. 5
 
                            
a tempo
43 rit.

 


     
                   

piu vivo
51 a tempo




         
          

61



                     
     
72


                         
78

  

      


       
     
     

84 *)

              
         
    
90

   
 
       
96

 
*On his own recording, Koussevitzky plays 8va from here until the end using only harmonics.

6 This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License.
 
     
III
      

   
   
  
       



    
Allegro

  


        
                
    
8

     
        
 
   
   


 



    
16




                           
 
19 Alla breve

 3

                    
  

25

 3


       

             
31

 

   
        
38

This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License. 7
     
              
            


rit.

 
44 a tempo


  3


   
                  
 
            

50

            
 
                    
55

*)

                    
          
59

                
                    
68

cresc. 


                   
           
78


 

     
         
87
poco rit.



*The passage from the last C# of m.57 through m.61 can also be played down an octave.

8 This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License.
   
                              
92 a tempo

 
  
                               

 
95

       

  
                                     
98

cresc.

                                
   
101

(cresc.)


                                            
     
104

      


 
 

                a tempo        
    

107 rit. molto



         


               
 

112 *)

cresc.



            
120

*Early edition piano scores show this measure as a whole note E tied into m.117.

This urtext edition may be freely used and distributed under a Creative Commons Attribution 4.0 International License. 9