Double bassist Dusan Kostic held a concert, on June 15 in the Hall of the First Kragujevac Gymnasium, within the concert season Convivium Musicum ‘19 with piano collaboration by Tijana Simonovic.
This young and promising artist, currently a student of the Academy of Arts in Novi Sad and the Academy of Music in Basel, has performed in the most prestigious concert halls and at many festivals in the country and abroad. He is soloist of the Liechtenstein Young Soloists Orchestra, member of the Menuhin Gstaad Festival Orchestra, solo contrabassist of the Baltic Sea Philharmonic Orchestra and member of iPalpiti International Artists in Los Angeles. His previous achievements, in terms of winning prizes, performances in the most prestigious concert halls, perfecting skills with renowned world contrabassists, are numerous, so it is not surprising that he simply mesmerised the audience in Kragujevac. Dusan Kostic and Tijana Simonovic, despite the temperature that was 30 degrees outside, and seem the same in the hall, were presented as exceptionally subtle, mature and responsible artists.
The first performed work on the concert was the Sonata for double bass and piano in E minor by Hungarian composer Vilmos Montag. The three movements of the composition bring contrasting moods, and in the interpretation of Dusan Kostic, especially were emphasized the gentle, lyrical segments of the work, which, in an incredible way, have emerged from the instrument of such a powerful sound. In Four pieces for double bass and piano by Reinhold Gliere, Dusan Kostic and Tijana Simonovic presented their performance with clear and logical solutions, in a dialogue that showed all the beauty of mutual expression and imagination. The works by Italian composer Giovanni Bottesini Elegy in D major and Grande Allegro alla Mendelssohn, presented two characteristics of double bass as a solo instrument – in the first that is distinctly lyrical, and in the second – virtuoso. Both of those “sides”, in the performance of the young contrabassist were presented extremely suggestively and engaged.
Although at the concert podiums we rarely have the opportunity to hear a double bass in a solo performance, this interpretation has certainly been singled out for other parameters. Especially interpretative, but we cannot go without mentioning a perfectly balanced repertoire that certainly contributed to the success of the concert.
Author: Katarina Lazarevic Sretenovic
Translation: Ljubica Guzvic
Photo: Stefan Adamovic