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Serge Koussevitzky

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Serge Koussevitzky was a prominent Russian and American conductor, composer, and double-bassist.

He is most recognized for his influential tenure as the music director of the Boston Symphony Orchestra (BSO). He led the ensemble from 1924 until 1949. This twenty-five-year period is often described as a golden era for the orchestra. During his leadership, he transformed the BSO into a leading American ensemble with an international reputation. His dedication to musical excellence helped shape the modern orchestral landscape.

Koussevitzky's musical training began in Vyshny Volochyok, Russia, within a Jewish family of professional musicians. His parents provided his initial instruction in violin, cello, and piano. He also learned to play the trumpet. At age fourteen, he received a scholarship to the Musico-Dramatic Institute of the Moscow Philharmonic Society. There, he studied music theory and the double bass under Rambusek. By age twenty, he joined the Bolshoi Theatre orchestra. He eventually succeeded his teacher as the principal bassist in 1901. He later moved to Berlin to study conducting under Arthur Nikisch.

Koussevitzky was a significant figure in the music publishing industry. He established his own firm, Éditions Russes de Musique, in Russia. Through this business, he purchased the catalogues of many influential composers. His publishing work included major figures such as Sergei Rachmaninoff, Alexander Scriabin, Sergei Prokofiev, Igor Stravinsky, and Nikolai Medtner. This allowed him to support the dissemination of modern musical works. He also organized the Concerts Koussevitzky in Paris between 1921 and 1929. These concerts presented new works by composers like Maurice Ravel and Prokofiev.

As a conductor, Koussevitzky acted as a vital champion for contemporary music. He frequently commissioned new compositions to expand the orchestral repertoire. In 1922, he commissioned Maurice Ravel to create an orchestration of Modest Mussorgsky's "Pictures at an Exhibition." This version became the most celebrated arrangement of that work. For the 50th anniversary of the Boston Symphony Orchestra, he commissioned several new pieces. These included works by Aaron Copland, Sergei Prokofiev, and Igor Stravinsky. He also commissioned a piece by Randall Thompson titled "Alleluia," which features the word sung 64 times.

In 1942, Koussevitzky established the Koussevitzky Music Foundations to honor his wife, Natalie.

KoussevitzkyFoundation
KoussevitzkyFoundation

The foundation's primary mission is to assist composers by commissioning new works. It also provides financial support to cover the costs of performing these new compositions. Many significant musical works were created through this support. These include Benjamin Britten's opera "Peter Grimes" and Béla Bartók's "Concerto for Orchestra." The foundation ensures that new musical ideas can be realized and heard by the public.

Koussevitzky's influence extended to the education and mentorship of future musicians. He played a central role in developing the summer concert and educational programs at Tanglewood. The main performance venue at Tanglewood, which seats 5,700 people, bears his name. He also provided a scholarship to a young tenor named Alfred Cocozza, who later became the famous singer Mario Lanza. His many students and protégés included the renowned conductor Leonard Bernstein. Bernstein famously wore a pair of cufflinks gifted by Koussevitzky at every concert he conducted.

His musical legacy continues through various awards and preserved instruments. The Tanglewood Music Center awards the Koussevitzky Prize to outstanding student conductors. Additionally, the Serge and Olga Koussevitzky Young Artist Awards are presented annually in categories such as voice, strings, piano, and woodwind or brass. Even his personal instruments remain part of musical history. His double bass, once believed to be made by the Amati brothers in 1611, was presented to bassist Gary Karr. This instrument continues to be played by various professional musicians today.

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