Leoš Janácek | Pohádka o caru
Božo Paradžik, double bass | Maria Sofianska, piano
Status: estimated release 2015-2016
Johannes Brahms | Sonata E minor op.38 (3rd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
Gioachino Rossini | Duetto
Božo Paradžik, double bass 1 |
Status: estimated release 2015-2016
Adolf Míšek | Sonata in E minor (finale)
Božo Paradžik, double bass | Maria Sofianska, piano
Live recording, 2004 | Detmold, Neue Aula
Johannes Brahms | Sonata A major op.100 (1st mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
Johannes Brahms | Sonata E flat major op.120 No 2 (1st mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
František Hertl | Nokturno from "Four Pieces"
Božo Paradžik, double bass | Wolfram Lorenzen, piano
Live in Freiburg, Musikhochschule | Archive only
Joseph Haydn | Concerto in C major (3rd mov)
Božo Paradžik | SWD-Kammerorchester Pforzheim | Sebastian Tewinkel
Status: double SACD release pending since 2008: EBS Music - Bayer Records
Joseph Haydn | Concerto in C major (1st mov)
Božo Paradžik | SWD Kammerorchester Pforzheim | Sebastian Tewinkel
Status: double SACD release pending since 2008 / EBS Music - Bayer Records
Giambattista Cimador | Concerto A major (3. Rondo)
Božo Paradžik | SWD-Kammerorchester Pforzheim | Sebastian Tewinkel
Status: double SACD release pending since 2008 / EBS Music - Bayer Records
Antonio Capuzzi | Concerto D major (3rd mov)
Božo Paradžik | SWD-Kammerorchester Pforzheim | Sebastian Tewinkel
Status: double SACD release pending since 2008 / EBS Music - Bayer Records
Johannes Brahms | Sonata E flat major op.120 No 2 (3rd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
Johannes Brahms | Sonata E flat major op.120 No 2 (2nd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
Franz Schubert | String Quintett in C major (3rd movement)
Božo Paradžik & Apos String Quartet
Live in Philharmonie Berlin | Archive recording
Schwarz-Weiß Schalter


FAQs  |  terms & conditions

We have updated our privacy policy, effective May 25, 2018, to increase transparency and reflect recent changes to EU privacy regulations. Please read more about it in impressum & privacy policy

Dear customer, with your purchase in this webshop you are becoming an active supporter of all my projects. As all my projects and releases are cross-financed, the turnover of this webshop will be used for such things like the webhosting / server costs of this website, future releases of the scores and of my audio or video recordings- including free / shareware projects like the YouTube video releases. Although YouTube videos are free of any charge for the users, these video productions done on the professional quality level have been including countless hours of work and were sometimes quite expensive in the production costs, which often included rent fees for the concert halls, hire costs for the professional instruments (like a rent of Stainway & Sons pianos including tuning) or hire of the expensive audio & video recording equipment, costs of the recording crew, sometimes inevitable to produce such quality recording. All the items price tags were set here in the webshop as low as possible. Some people would prefer if the items would cost less. If one considers that I live in one of the most expensive countries in the world, the price charged for the most expensive item in this webshop (presently PDF file with orchestra material for Bottesini's concerto) would barely last for a romantic dinner for two in one of the fancy restaurants in my city. And I have spent over 4 months of work only on that orchestration and the layout. Many items in this webshop needed months, or sometimes even years of my work to be completed. The popularity of the items in this webshop will be used as an indication for all future releases- there will be more releases of the popular items- and less releases of the less popular ones. With highest gratitude to all the supporters of my projects- thank you very much everybody for your support, with every purchase here you show me your love.

In this area most of my double bass scores and audio recordings will be available. The store will be updated on a regular basis and many more items will be available here in the future.

The scores as PDF files and downloadable MP3 files can be downloaded instantly after the purchase and a successful payment process via PayPal website. Shipping of the media (like the CDs) can usually be completed within a week- otherwise I will let you know. Please check if the shop price of the CDs includes the standard shipping costs (regarding the shipping address). An optional, insured shipping with tracking number is no problem at all, it costs around 2.15€ extra. CDs will usually be shipped within one week after the payment. In other case there will be a note. Delivery time depends on postal services.

The standard shipping service included in the CD price is neither tracked nor insured, so it is on purchaser's risk. In the Northwest of Europe, postal delivery services are very reliable but even here  letters get occasionally lost. If the delivery address is outside of the EU/Switzerland, please mind that the custom officers in your region in some cases may charge additional fees, which have to be paid by the purchaser. As a really busy private person it is impossible for me to offer full customer service like all large online-shops do, albeit I give my best. So please mind that and order CDs in this shop only if you are aware of my logistical limits and you agree with that.


All the scores are saved in PDF format, at least in a resolution of 300dpi (extremely high quality)

Since 01.01.2015 the customers from the EU countries are charged with VAT on e-services by their countries. So all my EU-customers should mind that there will be an additional tax in the rate of the countries of their residence. This is applicable for all electronical items (like scores as PDF files, or downloadable audio files). Physical items like CDs are not charged with this tax.

All the double bass scores here contain exclusively bass and violin clefs, while tenor clef is never used. The transcriptions are done in the style of Urtext-editions, as close as possible to the source (composer's text). Items contain information about sources and changes. The fingerings are usually not printed in the scores.

All the double bass parts here are for tuning in fourths. In some releases the lowest string is tuned down to a half- or whole tone lower. These are the common double bass tuning variants available in this store:

  • GDAE | "in C" (without transposition)
  • AEBF# | transposition "in D"
  • cGDA | transposition "in F"
  • dAEB | transposition "in G"

The "beta" releases are kind of scores I use for my own concert performances. Wider spacing is used, as well as larger scales. So these scores are easier to read in a concert situation so the stand can be positioned lower and further away. The layout style of "beta releases" often requires to stick three pages in a row. Unlike usage of the term "beta" in the software development (describing early versions that contain bugs) my beta scores differ from "final" releases  only in the wider layout design. Since the formatting of the beta versions is less complicated and their production required less working hours on formatting, their price tag is lower than the final versions. This is normally interesting for students, who often have to deal with a really tight budget. My plan is, to publish the beta score versions in the store as soon as possible - and to replace them with final releases stepwise after some time.

If there is no "beta" supplement, the formatting of the scores is narrower, in the style of the prestigious editions. As a result there are fewer pages, since the space on the paper is used to the maximum, while still keeping excellent readability of the text. Turning pages works two-by-two, without necessarity to glue three pages together. Formatting of the final versions of the scores demands a lot of time (up to twice as much), since virtually every entry must be optimized manually, so a higher final price tag was inevitable.


The CD prices in this shop already include the basic shipping cost as a postage without insurance. Shipping that way is usually possible only once a week, so please mind that the CDs will be sent 1-6 days after your purchase. Extra services like fast shipping, insured/registered postage with tracking number, etc. are generally possible- they will result in higher final price, only the real prices of the local postal service will be added. Delivery time depends on postal service, I have no influence on the shipping time and delivery date.


Following kind of recordings and file formats will be available by the time in this store:

  • Stereo in lossy compression formats (MP3, Vorbis OGG, AAC etc)
  • Stereo as high-resolution uncompressed audio (24bit, 48-96 kHz)
  • Surround in good sounding lossy compression format (DTS)
  • Surround in lossless compression format as high-resolution audio (FLAC)

Compressed stereo formats used here are all open-source projects and licence-free. The popular MP3 data format is since 2017 free of charge.

All surround recordings here are natively recorded in at least 24bit audio depth and in sampling rates from 48kHz to 96kHz.

My multitrack sound recordings were usually done with 8-12 separately recorded channels, 2-4 of those were reserved exclusively for the surround back, so the microphones were placed back in the hall to completely avoid - if possible - use of the digital reverb.

Since I am the producer of all sound recordings I was able to adhere to the following aspects of my philosophy:

  • The signals of the microphones are recorded without any artificial adjustment using  compressors, equalizers, etc. The pure signal from the mics was recorded and wasn't adapted afterwards.
  • Dynamic contrasts in my recordings are real, as played during the performance and just adapted once for the final mix and at the cutting points, otherwise the dynamic is generally not manipulated to support the musical content of the score.
  • Live recordings are edited from only those takes: the concert itself, the general rehearsal, and a short warm-up rehearsal right before the concert - if there was one. No recording sessions previous to the concert and no correction recordings after the concert have been used for any recording that is labeled as "live" here.
  • The surround recordings here use the "center" very slightly, or not at all. The reason for that is the fact that many surround systems boost the middle frequences for the center loudspeaker to improve clearity of the spoken voice, which is designed for watching movies rather than listening to music.
  • The surround recordings here contain always LFE channel, but it is dispensable if high quality loudspeakers are used in the surround system. A subwoofer makes sense only if the loudspeakers are small or if the personal taste of the listener requires more bass.
  • High-resolution audio is generally available in the resolution of the recording source. Upscaling to a higher sample rate is not used here.

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