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
František Hertl | Nokturno from "Four Pieces"
Božo Paradžik, double bass | Wolfram Lorenzen, piano
Live in Freiburg, Musikhochschule | Archive only
Johannes Brahms | Sonata E minor op.38 (3rd 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
Johannes Brahms | Sonata E flat major op.120 No 2 (1st mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
Leoš Janácek | Pohádka o caru
Božo Paradžik, double bass | Maria Sofianska, piano
Status: estimated release 2015-2016
Gioachino Rossini | Duetto
Božo Paradžik, double bass 1 |
Status: estimated release 2015-2016
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
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 (2nd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
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
Johannes Brahms | Sonata E flat major op.120 No 2 (3rd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
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 audio and video productions and all the webhosting costs related to this website. Although YouTube videos are free of any charge for the users, video productions done on such quality level normally require high production costs (such like rent fees for the concert halls, hire costs for pianos, including tuning, hotel and journey expenses, costs bound with renting of the expensive audio & video recording equipment, costs of the recording crew, etc).

All price tags in this online shop were set as low as possible. Although some customers would like the purchase prices to be even lower, it is necessary to take into account that the production takes place in highly developed countries of Western Europe, where all prices are correspondingly high due to the high standard of living. The highest price 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. 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 by the time. The store will be updated on a regular basis and many more items will be available here in the future.

Shipping of the media in physical format (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). CDs will usually be shipped within one week after the payment. In other case there will be a notification of ETA. Delivery time depends on postal services. 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.

If the delivery address is outside of the EU/Switzerland, please mind that the customs of some countries in some cases may charge additional fees, which have to be paid by the purchaser.

The copyright and all other rights to content, images, photos or other files on the site belong exclusively to the author Božo Paradžik or the specifically named rights holders. Please read more about it in impressum & privacy policy. For the reproduction of any elements, the written consent of the copyright holders must be obtained in advance. The website is a trademark of the internationally active artist and author Božo Paradžik. The revenues from the online shop are a registered self-employed activity of the author based in the city of Lucerne (LU), Switzerland. The place of jurisdiction is Lucerne LU/Switzerland.



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. Therefore, fingerings are usually not printed in the PDF scores. Some items (mainly sonatas by Beethoven or Brahms) are including copies of Božo Paradžik's music with all his marks like bowings fingerings etc.

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, every release incudes double bass parts for all well-usable variants (depending on the piece):

  • 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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