Nevertheless, Prokofieff was much influenced by Paris during the Twenties: the Paris which was the artistic center of the Western World -- the social Paris to which Russian aristocracy migrated -- the chic Paris which attracted the tourist dollars of rich America -- the avant-garde Paris of Diaghileff, Stravinsky, Koussevitzky, Cocteau, Picasso -- the laissez-faire Paris of Dadaism and ultramodern art -- the Paris sympathique which took young composers to her bosom with such quick and easy enthusiasms.

The leading figure of the double bass in the early 20th century was Serge Koussevitzky, best known as conductor of the Boston Symphony Orchestra, who popularized the double bass in modern times as a solo instrument.

In 1949, Koussevitzky was succeeded by the Alsatian conductor Charles Munch.

During this period the orchestra was conducted by a series of guest conductors, who included Furtwängler, George Szell, Pierre Monteux, Koussevitzky, and Bruno Walter.

One suggested possibility is that the conductor chosen to replace him, Serge Koussevitzky, was thought more charismatic, with greater box-office appeal.

The work was written in response to a commission from the Koussevitzky Foundation ( run by the conductor Serge Koussevitzky ) following Bartók's move to the United States from his native Hungary, which he had fled because of World War II.

It was narrated by Richard Hale, a film actor best known for villainous and exotic roles, with music performed by the Boston Symphony Orchestra under the direction of Serge Koussevitzky.

It was written from 1946 to 1948, on a commission by Serge Koussevitzky for the Boston Symphony Orchestra.

Koussevitzky was billed to conduct the premiere but fell ill and the task was then given to the young Bernstein.

He promised the premiere of this symphony to Serge Koussevitzky in 1931 and 1932, and a London performance in 1933 under Basil Cameron was even advertised to the public.

One of his co-students was Serge Koussevitzky, who conducted the premiere of Glière's Symphony No. 2, Op.

The piece was premiered in Paris on June 6, 1925, conducted by its dedicatee Serge Koussevitzky, and was not well received.

Prokofiev, who had been working on the opera for years, was reluctant to let the music languish unperformed, and after hearing a concert performance of its second act given by Serge Koussevitzky in June 1928, he adapted parts of the opera to make his third symphony ( shortly afterwards, he drew on his ballet The Prodigal Son for his Symphony No. 4 in similar fashion ).

The Fourth Symphony was completed and premiered November 14, 1930 in Symphony Hall in Boston with Serge Koussevitzky conducting in the composer's absence.

Koussevitzky on the other hand was skeptical of Prokofiev's reworking of ideas from the ballet, and the premiere received a lukewarm reception.

Then, in November of that year, Serge Koussevitzky and the Boston Symphony Orchestra introduced the score to America and recorded it for RCA Victor, using an optical sound film process introduced by RCA in 1941 ; it was initially issued on 78-rpm discs and later on LP and CD.

In 1938, a fan-shaped shed ( now known as the Koussevitzky Music Shed, or " the Shed ") was constructed, with some 5, 100 seats, giving the BSO a permanent open-air structure in which to perform.

The premiere was conducted by Serge Koussevitzky in Moscow on 2 March 1911.

His best-known piece in this style is Sheyibone Beis HaMikdosh, which was modified by Cantor Moshe Koussevitzky.

( He was appointed Koussevitzky ’ s assistant at the Center in 1948 ).

The work did not gain immediate popularity and had to wait until 1922 to be confirmed in the 20th century canon, after Serge Koussevitzky conducted a lavishly praised performance in Paris.

In spite of this, the orchestra continued to attract notable musicians and conductors, such as Richard Burgin, who later became concertmaster for Serge Koussevitzky in Boston ; Max Rostal ; Ernst Glaser ; Robert Soetens, for whom Sergei Prokofiev's 2nd Violin Concerto was written ; and others who were driven out of Germany by the Nazi regime-Igor Stravinsky, Fritz Busch, Erich Kleiber, and Bruno Walter.

Around 1922, Ravel completed his famous orchestral arrangement of Mussorgsky ’ s Pictures at an Exhibition, commissioned by Serge Koussevitzky, which through its widespread popularity brought Ravel great fame and substantial profit.

Koussevitzky also commissioned many new pieces from prominent composers, including the Symphony No. 4 of Sergei Prokofiev and the Symphony of Psalms by Igor Stravinsky.

They also gave the premiere of Béla Bartók's Concerto for Orchestra, which had been commissioned by the Koussevitzky Foundation at the instigation of Fritz Reiner and Joseph Szigeti.

In its second season guest conductors included Richard Strauss, Felix Weingartner and Bruno Walter, followed, in later seasons, by Serge Koussevitzky, Beecham and Mengelberg.

* December 1-Béla Bartók's Concerto for Orchestra is premiered in Boston, Massachusetts by the Boston Symphony Orchestra conducted by Serge Koussevitzky

The score is inscribed " 15 August – 8 October 1943 ", and it premiered on December 1, 1944 in Boston Symphony Hall by the Boston Symphony Orchestra conducted by Serge Koussevitzky.

A sample provided by the publisher refers to working with Koussevitzky on the Symphony No. 4 by Brahms, musing on the state of mind of the player in the performance.

* American premiere: October 16, 1931, Boston, with the Boston Symphony Orchestra, conducted by Serge Koussevitzky

** Symphony No. 3 ( 1946 – 47 ) ( commissioned by the Koussevitzky Foundation )

* 4 May 1919 — first symphony concert of the theatre orchestra, conducted by Sergei Koussevitzky

One million radio listeners tuned in when Koussevitzky and the orchestra were the first to perform a live concert for radio broadcast, which they did on NBC in 1926.

Under Koussevitzky, the orchestra gave regular radio broadcasts and established its summer home at Tanglewood, where Koussevitzky founded the Berkshire Music Center, which is now the Tanglewood Music Center.

According to Stravinsky, the commission for the work came about from " a routine suggestion " from Koussevitzky, who was also Stravinsky's publisher, that he write something " popular " for orchestra without chorus.

According to an obituary in The Guardian however, " He enjoyed enormous success in the 1940s and early ' 50s with champions that included Koussevitzky, Bernstein, Munch, Ormandy and Mitropoulos but, in the 1960s and ' 70s, the serial and modernist schools pushed him into the shadows.

Foss also studied with Sergei Koussevitzky during the summers from 1939 to 1943 at the Berkshire Music Center ( now known as the Tanglewood Music Center ) and, as a special student, composition with Paul Hindemith at Yale University from 1939 to 1940.

Fennell also studied conducting with Sergei Koussevitzky at the Berkshire Music Center at Tanglewood in 1942 ( with classmates Leonard Bernstein, Lukas Foss, and Walter Hendl ).

It premiered on October 18, 1923 at the Paris Opera with Marcel Darrieux playing the violin part and the Paris Opera Orchestra conducted by Serge Koussevitzky.

Audience members, especially those who came to Koussevitzky concerts, wanted modern music with a certain amount of shock value.

* Neeme Järvi and the Detroit Symphony Orchestra on Chandos play this symphony together with another work commissioned by Koussevitzky, the Roy Harris Symphony No. 3.

The full chorus of 75-85 singers performs each season with Dr. Jones in Ozawa Hall and in the Koussevitzky Music Shed for Tanglewood on Parade.

In recent summers, the Young Artists Chorus has performed in the Koussevitzky Shed with the Boston Pops under the baton of John Williams for Film Night at Tanglewood, and has sung with the Boston Symphony Orchestra, conducted by Seiji Ozawa and John Williams.

The first recording was made in 1946, by William Primrose with the Boston Symphony Orchestra conducted by Serge Koussevitzky.

In April 1946 Yeend made her first major concert appearance as the soprano soloist in Beethoven's Ninth Symphony with the Boston Symphony Orchestra under the direction of Serge Koussevitzky.

The American premiere of the piece was given soon afterwards by Koussevitzky and the Boston Symphony Orchestra, with the chorus of the Cecilia Society ( trained by Arthur Fiedler ) on December 19, 1930.

He studied conducting with Serge Koussevitzky at Tanglewood in 1949.

Fine was a conducting pupil of Serge Koussevitzky, served as pianist for the Boston Symphony Orchestra, and studied composition with Nadia Boulanger at the Fontainebleau School of Music in Paris and at Radcliffe College.

He premiered this revised version in Paris on 8 May 1924 with Serge Koussevitzky conducting.