Sort by

Filter by

Original Version


Saksala, Janne

Picture: Saksala, Janne

Helsinki, 1967. Janne Saksala was born in 1967 in Helsinki, Finland. He began music studies on the piano at age seven at the Helsinki School of Music, where he also began studies on the double bass in 1981. In 1986 he continued his studies at the Hochschule der Künste in Berlin under Prof. Klaus Stoll. In 1991 he was a prize-winner of the ARD International Music Competition in Munich. Janne Saksala enjoys an international reputation as a chamber musician and a teacher, and has been engaged as a tutor at many reputable music institutions (e.g. Schleswig-Holstein Music Festival, Manhattan School of Music). He has made many radio productions, and has performed as a soloist internationally. He works regularly together with composers, and has premiered many new compositions. He is professor in the Carl-Flesch-Academy Baden-Baden since 2006 and will be one in the Musikhochschule Hanns-Eisler Berlin from 2009 on. He has been a member of the Berlin Philharmonic since 1994 and it’s first solo-bass since autumn 2008.


BEETHOVEN, Ludwig van

Picture: BEETHOVEN, Ludwig van

Bonn, 1770 - Vienna, 1827. He was born in the German town of Bonn on the 16th of December 1770. His grandfather Ludwig and his father Johann were both musicians. Johann was to act as little Ludwig's first music teacher, but Ludwig soon changed to the court organist C. G. Neefe. Passing eleven years of age, Ludwig deputized for Neefe, and at twelve had his first music published. He then stayed as Neefe's assistant until 1787, when at seventeen, he took off for Vienna. Even though Vienna was to be his home for the rest of his life, this first visit was short. On hearing that his mother was dying, he quickly returned to Bonn. Five years later he finally moved to Vienna to live and work. After arriving in 1792 he studied composition and counterpoint under Haydn, Schenk, Salieri and Albrechtsberger. At the same time, he tried to establish himself as pianist and composer. His good relations with the towns aristocracy soon led to a secured income. In 1809, with the sole condition that he stayed in Vienna, Prince Kinsky, Prince Lobkowitz and Archduke Rudolp even guaranteed Beethoven a yearly income. But going back to the years around 1800, which is traditionally called the early period, he was still trying to master the high classical style. This strive culminated in the second symphony from 1801-1802. This is also the time when the middle period starts. From now up until 1813, Beethoven develops and enhances the high classical style into a more dynamic and individualistic style. It is now that he writes symphonies Nr. 3 - 8, piano consert Nr. 5 and a lot of chamber music. But as he learns to control his craft and develop the music into new undiscovered grounds, he also suffers from reminders of the pains of real life. He has early in life discovered that his hearing wasn't what it should be, and the disorder gets worse as time goes by. It gets to the point where Beethoven is thinking of ending his life as he sees no way out of his despair. That fact is documented in the letter he wrote to his brothers in 1802, the so called "Heiligenstadt Testament". This hearing disorder seems to have affected his social life to a great extent. He became difficult to handle in social interactions and could suddenly burst into outbreaks of anger and show bad temper where he usually insulted someone. If that is the reason for his troubles with women, or if their is something traumatic hidden in his childhood, I don't know, but the fact is that he never got involved with a woman in a normal relation. Beethoven seems to have been attracted to women he couldn't get, or at least was hard to get. An example is Antoine Brentano, with whom he had a relationship, but who broke up with him to marry a friend. It is she who is known as the "immortal beloved" in letters addressed to her from Beethoven in 1812. Now came a couple of years without much creative work. Instead he was tormented by personal matters concerning his nephew of which he tried to gain custody when the brother died in 1815. But Beethoven didn't have the capacity of a domestic human being, and even though he did win the struggle for custody, Beethovens relation with the nephew was tense and burdensome and it reached the point where little Karl tried to take his own life in 1826. This is also the so called late period in Beethovens musical career. His music is described as less dramatic and more introvert, but also, I would like to add, more mature and secure. It has a flavour of the genius growing old and an obvi


  • BEETHOVEN | Saksala < Double bass

    Symphony no. 5 in C minor op 67 (double bass part)

    III. Scherzo. Allegro

    CLASS 696: [O.V.: English]


    Part - 9' 21''
    Part - 1' 54''
    Part - 23' 53''


Picture: BOTTESINI, Giovanni

Crema, 1821 - Parma, 1889


  • BOTTESINI | Saksala < Double bass

    Concerto for double bass and piano no. 2 in B minor

    I. Allegro moderato

    CLASS 684: [O.V.: English]


    Part - 19' 30''
    Part - 53' 49''


Picture: FRYBA, Hans

Reisenberg, 1899 - Gramatneusiedl, 1986






Picture: KOUSSEVITZKY, Sergey

Vishny-Volotchok, 1874 - Boston, 1951. Russian-born U.S. conductor. A virtuoso double-bass player, he was self-taught as a conductor. With his father-in-law's financial help, he debuted with the Berlin Philharmonic in 1908. In the following years he founded his own orchestra, which toured the Volga by riverboat. After leaving the Soviet Union in 1920, he established the Concerts Koussevitzky series in Paris before becoming permanent conductor of the Boston Symphony Orchestra (1924-49). He gave about 100 premieres there, including commissioned works such as Igor Stravinsky's Symphony of Psalms, and many works by U.S. composers, inspiring his musicians to legendary performances by the force of his personality. The Tanglewood Music Center in Lenox, Mass., was established during his tenure in Boston.


  • KOUSSEVITZKY | Saksala < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    I. Allegro

    CLASS 702: [O.V.: English]


    Part - 1' 36''
  • KOUSSEVITZKY | Saksala < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    II. Andante

    CLASS 702: [O.V.: English]


    Part - 12' 05''
  • KOUSSEVITZKY | Saksala < Double bass

    Concerto for double bass and orchestra in F sharp minor op 3 (double bass and piano reduction)

    III. Allegro

    CLASS 702: [O.V.: English]


    Part - 14' 05''
    Part - 13' 01''





New list

In compliance with the provisions of Article 22.2 of the Spanish Information Society Services and Electronic Commerce Act (LSSI), this portal makes use of cookies. Your use of this website indicates your consent to the use of cookies described in this policy. -
You can alter the settings or find out more in cookies policy.
Cookie Policy +