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Lars-Erik Larsson (1908-1986) – Concertino for Double Bass and String Orchestra, Op.45, no 11 (1957)

Philharmonisches Kammerorchester Dresden
Double Bass – Benedikt Hübner
Conductor – Wolfgang Hentrich

Information on Benedikt Hübner: https://www.dresdnerphilharmonie.de/e...

Original video:    • Lars-Erik Larsson Concertino op.45 für Kon...  

Score: https://www.stretta-music.net/larsson...

Looking for new chamber music repertoire? Go take a look at the ContrebasseClassique website: https://www.contrebasseclassique.com/

Details by David Heyes: https://liuzzivito.blogspot.com/2014/...

Swedish composer Lars-Erik Larsson (1908-1986) is known particularly to bassists because of his Concertino for double bass and string orchestra (or piano). He studied in Sweden and Vienna and his music went through a range of styles in his career, being influenced by Sibelius and the modernity of Berg, the inclusion of folk music and dance in many works, alongside writing accessible and enjoyable music which can be characterised as neo-classical or neo-romantic.

Larsson was a fairly prolific composer writing in many genres including symphonies, orchestral works, concertos, chamber music, choral music and much else. In 1937 he was appointed to Swedish Radio and his job included composing incidental music, conducting light music and producing programmes, and from 1945-47 was the inspector of the Swedish state-sponsored amateur orchestras. This gave him an insight into the problems that amateur orchestras faced with programming contemporary music and in 1953 he decided to write a number of works to fulfill this area of repertoire.

Larsson realised that each amateur orchestra usually had a number of professional or semi-professional musicians they could call on and decided to write a series of concertinos for soloist and string orchestra, where the solo part is usually more demanding than the orchestral parts. His 12 Concertinos, Op.45 were started in 1955 and ended in 1957 and were written without a commission and simply to help amateur orchestras find repertoire which is both enjoyable and interesting for players and audiences alike. Each concertino is in three movements, lasting 10-12 minutes in total and a lyrical slow movement is framed by two fast, lively and rhythmic outer movements.

Concertino for double bass and string orchestra (Op.45, No.11), the penultimate of the series, was composed in 1957 and is a work full of fun and good humour. The solo part (in solo tuning) is playable by a professional or good amateur bassist and the string parts are simple and supportive, but also an integral part of the piece.

The first movement is marked 'Ballad: Moderato' and dotted minim (dotted half-note) = c.84. The opening six-bar orchestral theme, in octaves, sets the scene for a short cadenza which takes the bassist from the lowest register towards the end of the fingerboard, answered by another orchestral statement and followed by a more rhythmic solo cadenza leading into the main statement. A rhythmic and driving staccato accompaniment is contrasted by a more lyrical solo theme, developing into more rhythmic material which adds a sense of purpose and drive.

The second movement is marked 'Arioso: Lento' and quaver (eighth note) = c.76. A two-bar repetitive accompaniment figure underpins much of the movement, in ternary form, and the most glorious and lyrical melody demonstrates the cantabile qualities of the solo double bass.

The third movement (Finale:Allegro moderato) is marked crotchet (quarter note) = c.126 and repeats the start of the first movement but in 2/4 rather than 6/4. The solo part is much more rhythmic and energetic here, with echoes of the opening movement and ending with a final coda (Piu mosso) which is full of great drive, momentum and excitement bringing the work to a lively and successful conclusion.

Larsson's Concertino for double bass and string orchestra is a very accessible work for the good intermediate bassist who is able to play in thumb position. The solo part is well written and there are opportunities to demonstrate both musical and technical prowess and all in the space of less than 12 minutes. It offers much to both performers and audiences alike and deserves to be even better known than it is.

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