The object of study in this paper is the Double Bass Concerto Op. 3 of Sergey Alexandrovitch Koussevitzky (1874-1951). This paper consists of five chapters: a preface, an introduction to the composer's life and works, an analysis of the concerto, a review of the stylistic features of the work with a study of interpretation in performance, and a conclusion.

In this study, I think two reasons why the compositions of Koussevitzky are popular among double bassists are, first, that these works have a clearly romantic musical style, and second, this concerto offers excellent techniques for the instrument. However, there are few research papers relative to Koussevitzky in the literature. Therefore, by referring to Koussevitzky's two biographies, it has been possible to follow the composer's related achievements and contributions to playing the double bass.

Furthermore, looking into research and analysis in depth, certain musical features of this work have been emphasized according to conclusions of music analysis. This has helped me to confirm the original lyric qualities more in performance and achieve the best interpretation.

Recital Program:

1. Franz A. L. J. Keÿper (1756-1815): Romance and Rondo

2. J. S. Bach (1685-1750): Cello Suite No. 2, BWV 1008 Prelude (Transcribed for Double Bass by Christopher Roberts, after David Walter)

3. Reinhold Glière (1874-1956): Prelude, Op. 32, No.1; Tarantella, Op. 9, No. 2

4. Paul Hindemith (1895-1963): Sonata for Double Bass and Piano

5. Sergey Koussevitzky (1874-1951): Concerto for Double Bass, Op.3