Dear Forum,
I don't know if I can help you, but I have got a Serge Koussevitzky called:
"Serge Koussevitzky
the complete double-bass recordings
early recordings with Boston Symphony
Beethoven "Pastoral" Sympony Strauss Waltzes"
Biddulph Recordings (no number)
Inside:
1)Eccles -Largo
2)Eccles - Largo (again, arr. Koussevitzky) also in G minor
3)Laska
4)Beethoven Minuet in G
5)Koussevitzky Chanson Triste op.2
6)Koussevitzky Double Bass Concerto in F Minor (no FA# minor) -Andante
7)Koussevitzky Valse Miniature (op.1)
8)Beethoven (Pastoral)
9) Strauss Wiener Blut
10)Strauss
Well, I don't know if it's too possible to find it, but it's interesting to say that Maestro used the old technique in thumb position to pull the string on the left and there are a lot of "portamento" or "glissando". Times are, in my opinion, a little bit more moderate but the general sound is really amazing. Probably, we should reconsider the "times" written, in example, also in Bottesini's, Dragonetti, Sperger, Dittersdorf and so on because I think nowadays performances of classical and romantic period are "too fast", without respecting the fact that in those periods, also with good gut strings in high torsion, it was important to let listen to all notes, expecially the low ones. Today it's different! Technology has gone on. But too fast performances shouldn't be philologically a correct thing to do. We don't have recordings, ok, but a lot of letters from wich researchers should tell us much more about what we generally admit as the "truth" !
My best regards
Vito Liuzzi (italy)
