Throughout his life Láska also taught, conducted and composed, alongside his solo and orchestral performances, and Franz Tischer-Zeitz who edited the Dittersdorf Concerto in the 1930s, was one of his students. In 1904 his Method for Double Bass Op.50 was published in Leipzig but is practically forgotten today – the fate of many similar double bass tutors. From 1878 until his death in 1928 he was a member of the Court Opera Orchestra of Mecklenburg-Schwerin and was also choirmaster of the Schwerin Singakademie and church choir.

Gustav Láska was a prolific composer, writing in many genres, including three operas (Der Kaisersoldat, Sunde and Abu Seid), two orchestral overtures, two symphonies, sacred choral works, piano music, and many of works for double bass. His music for double bass is well written for the instrument, featuring many technical challenges alongside lyrical and cantabile melodies, but much of it has fallen from the repertoire since his death almost 90 years ago.

The smaller works are probably best described as salon or characteristic music, but of a high quality, and many are still worthy of performance today. His music often fuses the technical skills of the Czech School with the lyricism and virtuosity of Bottesini, although still with one foot very firmly in the Czech camp. The salon style is a little out of step with today’s music making and sensibilities but fashions do change and there is a wealth of great music awaiting rediscovery by the curious and adventurous bassists.

Perpetuum Mobile is a fun, exciting and virtuosic tour-de-force for the advanced bassist. The music is marked Velocissimamente and the bassist plays for 170 bars…