Análisis formal del concierto para contrabajo solista y orquesta OP. 3 en FA sostenido menor de Sergei Koussevitzky

Abstract

This thesis intends to carry out a deep and rigorous analysis of the form and style of the Sergei Koussevitzky´s Double bass and Orchestra Concerto in f sharp minor, as well as to emphasize certain biographical aspects of the author, which will help to the better understanding of his work. From the very moment that the study of a piece begins as well as its performing, it’s very important to work in a musical analysis, starting from the point of view of interpretation, and going through the style, and interpretation; since each period of music, and every composer have their own particularities, it should consider the following questions: What are the main characteristics in terms of style form and interpretation for the period in which the Koussevitzky double bass concerto was written? Composers and performers have contributed in the development of the technique and style of interpreting his works. This concert is not an exception and deserves it to be studied thoroughly, for sure the information here will be of great benefit to our musical growth. There are different definitions that can be given to the word "Musical analysis", according to the dictionary of music Harvard, describes it like the study of the musical structure applied to the musical pieces or the interpretation, on the other hand the dictionary of music Larousse mention that the analysis consists in studying a musical piece to define the form, tone, structure, rhythm, harmony, orchestration, the theme, melody, dynamics, etc. According to the book “Practical guide to the methodological application of musical analysis" they propose the musical analysis as a tool for music and even as a discipline of teaching in musical training. The musical analysis takes as a starting point the study of music itself, in other words, the same elements which constitute it lead us to a true understanding of the music going from the harmonic, phraseological, formal point of view to the historical point of view. In the magazine "Quodlibet" number 13 by Nicholas Cook, in his article what musical analysis tell us? Recommend us to ask what it makes an analysis good and another not, so we must be very effective getting data that be useful to understand more the essence of the musical construction beyond the obvious or the idealized from musical semiotics or any other field that you want to refer.