Composer: Laska, Gustav
Editor: David Heyes
Instrumentation: Double Bass Solo
Publisher:
| Product Code: | RMD1420 |
| Publishers Number: | RMD1420 |
| Language: | English |
| Condition: | New |
Throughout his life Láska also taught, conducted and composed, alongside his solo and orchestral performances, and Franz Tischer-Zeitz who edited the Dittersdorf Concerto in the 1930s, was one of his students. In 1904 his Method for Double Bass Op.50 was published in Leipzig but is practically forgotten today – the fate of many similar double bass tutors. From 1878 until his death in 1928 he was a member of the Court Opera Orchestra of Mecklenburg-Schwerin and was also choirmaster of the Schwerin Singakademie and church choir.
Gustav Láska was a prolific composer, writing in many genres, including three operas (Der Kaisersoldat, Sunde and Abu Seid), two orchestral overtures, two symphonies, sacred choral works, piano music, and many of works for double bass. His music for double bass is well written for the instrument, featuring many technical challenges alongside lyrical and cantabile melodies, but much of it has fallen from the repertoire since his death almost 90 years ago.
The smaller works are probably best described as salon or characteristic music, but of a high quality, and many are still worthy of performance today. His music often fuses the technical skills of the Czech School with the lyricism and virtuosity of Bottesini, although still with one foot very firmly in the Czech camp. The salon style is a little out of step with today’s music making and sensibilities but fashions do change and there is a wealth of great music awaiting rediscovery by the curious and adventurous bassists.
One rare work for unaccompanied double bass which has fallen off the radar is the Konzertstuck Op.54 by Czech bassist-composer Gustav Laska. Probably composed in…
The 21st-century is awash with an amazing array of works for unaccompanied double bass, in all styles and idioms, with something to challenge and entertain in equal measure. Works of great invention and musical worth now sit side by side with established solo repertoire, works which explore every sound, effect and noise possible on the double bass. The form has attracted many great composers and players to write for the double bass over the past sixty years, but it wasn’t always the case.
Apart from Dragonetti’s 12 Waltzes for unaccompanied double bass, probably written in London in the early 1800s, but not published as a complete set until recent times, and two works by Czech bassist-composer Vojta Kuchynka (1871-1942), there are very few original works for unaccompanied double bass until we arrive at the great Bert Turetzky’s repertoire which began in the late 1950s. Bert was a key figure in persuading composers to write for the instrument, but was also interested to explore the myriad colours, textures, timbres and sounds available to the modern bassist and composer.
Why so few works for solo double bass? Possibly for the same reason that the Bach Cello Suites were ignored for many decades and even exist with piano accompaniments from the 19th-century. Obviously music for solo double bass or solo cello were not seen as viable works for the concert hall at this time and hence a dearth of repertoire and lack of interest by composers.
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