Adolf Míšek | Sonata in E minor (finale)
Božo Paradžik, double bass | Maria Sofianska, piano
Live recording, 2004 | Detmold, Neue Aula
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
Gioachino Rossini | Duetto
Božo Paradžik, double bass 1 |
Status: estimated release 2015-2016
František Hertl | Nokturno from "Four Pieces"
Božo Paradžik, double bass | Wolfram Lorenzen, piano
Live in Freiburg, Musikhochschule | Archive only
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
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 (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 (2nd mov)
Božo Paradžik, double bass | Maria Sofianska, piano
Status: ongoing release | estimated 2015
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
Johannes Brahms | Sonata E minor op.38 (3rd 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
Schwarz-Weiß Schalter
Kontrabassschnecke

BRAHMS | sonata E flat major op.120 Nr.2 | BASS PART ONLY | cGDA

BRAHMS  |  sonata in E flat major Opus 120 Nr.2  |  DOUBLE BASS PART ONLY |  cGDA
FILE FORMAT: PDF | 300 dpi
RELEASE: final
SCORES: only Double Bass | 19 pages
SCORDATURA: in F | cGDA (only)
SOURCE: composer's original text | unamended
RECOMMENDED PIANO SCORES: G.Henle Urtext HN987 (not included) | Bärenreiter Urtext BA10906 (not included)  |  Wiener Urtext UT50016 (not included) but also first release (Simrock 1895) will work fine (available in world web free of charge)

COMMENTS: This sheet music includes my own transposition of this magic composition, the very last sonata composed by Brahms during his lifetime. This version for double bass is based on Urtext 99.9% but it features on single spots some logical and instrument specific solutions, usually at the same places where the composer's original text slightly differs between his versions for the clarinet versus viola. In my personal opinion, there is no alternative for the scordatura in F (cGDA) for th eperformance on the double bass. Double bass sounds with this tuning surprizingly clear and present in the combination with modern piano. Technically difficult passages are also playable in this tuning. This PDF file (released in August 2021) includes also the scanned copy of my own double bass part that I have used during the work on my album "Double Bass Goes Brahms". My part was an early version and it contains some misprints and minor errors, also wrong octaves. But I hope some of my fingerings and bowings will be useful for the difficult passages. The fingerings and especially bowings haven't been entered and written by myself consequently everywhere. Helpful info for the fingerings: I am using the positions with strict order of the fingers (usualy chromatic order whenever possible, but if it isn't useful, the position is sometimes larger). In the lower positions I use often 4-fingers system, that covers three halftones. I never use "floating" distances within the same position. The fingering marks are, if single, usually entered only at the moment when shifting happens (the marked fingering it is the first tone of the next position). For frequent fingering marks (tone by tone) I have usually added the brackets to clarify which tones belong within the same position.

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