AUBRECHT, Mathias
"Romance" for double bass & piano
Double bass part for GDAE tuning
The piano part is printed in the appendix of F. Simandl's double bass method (in the booklet 3 / 9)
The reprint of the booklet N°3 (of 9) by CEFES edition can be ordered  HERE
The reprint of all 9 booklets (with more than 50 compositions) by CEFES edition can be ordered HERE
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BACH, Johann Sebastian
Goldberg Variations, Var.1
double bass in F (cGDA) - piano's left hand in original key and octave
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BACH, Johann Sebastian
Sonata BWV 1028 in D major, 1st and 2nd movement
double bass in G (dAEB) - viola da gamba part in original key and octave 
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BEETHOVEN, Ludwig van
Sonata in G minor, op. 5, N°2, 1st and 2nd movement
double bass part (GDAE) - URTEXT adapted for double bass, in original key and octave
play the same piece Dragonetti performed together with Beethoven in Vienna around 1800
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BEETHOVEN, Ludwig van
Sonata in A major, op. 69 - first movement - AUTOGRAPH
Autograph version of the first movement differs in many details from the first printed version. While it is certain, that the changes from the first release have also been done by Beethoven, the autograph is the only historic source written directly by Beethoven and it is pity only first movement has survived. This is a very important historic document and as much as I know, sheet music has never been yet printed. So I do it now for the cello society. I have also recorded this version with the pianist Maria Sofianska in July 2025, but it is impossible to predict how long will it take until the video will be released on my YouTube channel. Autograph version is written more in early classical Viennesse style, while the known, printed version contains more powerful sounds and stylistic changes, foremost in the more massive piano part. This PDF file contains all changes for violoncello and piano, but while the cello part is completely printed, piano score contains mainly the entries from composer's autograph with discrapancies to the first release, while piano part stays in all other bars empty. The formatting concept of the piano PDF score is done such way that it can be printed on A4 paper. Parts of the pages with adjusted bars, staves or whole parts of the pages can be later cut and glued over the old Henle Urtext edition. My personal sample of complete cello sonatas by Beethoven is version Henle 1971, which isn't well done anyway and out of today's philosophy of Urtext editions, it isn't really keeping to to source. When printing on A4 paper for this purpose, try with 95% size, as this layout is optimized for the tablets. So this PDF file was made mainly for my own purposes and I'm just sharing it now, as all my cello collegues have been very interested in seeing the autograph version (the scan is available for free in the internet, but, be warned, it is Beethoven's original handwriting which often isn't easy to read).
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BOTTESINI, Giovanni
Urtext, Elegy "in D major" (actually obviously in C major)
Piano score, published in Bottesini's "Grande Méthode Complète" (Ed. Léon Escudier, Paris, 186?)
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BOTTESINI, Giovanni
3x Urtext, Concertino (known as "Concerto No. 2"), for the time being only 1st movement
Direct comparison of three historical sources, side by side. Available sheet music usually contains a wealth of invented dynamics, articulations and altered slurs (majority of editions did so, unfortunatelly). In Bottesini's handwritten copies, certain details are also different, but often for practical reasons, such as different instrumentation of the accompaniment. In the future, an overview of historical performance practice will also be published.
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BRAHMS, Johannes
Sonata in e minor, op. 38, only 1st movement
double bass part (GDAE) - URTEXT adapted for double bass, in original key and octave
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KUCHYNKA, Vojtěch
Canzonetta
ALthough today widely forgotten, Vojta Kuchynka was one of the most important double bassists between 19th and 20th century. He studied composition by Antonin Dvořák and composed around 140 works of various genres (majority never published), which of 40 for solo double bass with orchestral or piano accompaniement (as many pieces as famous Giovanni Bottesini composed). Kuchynka performed more than 600 recitals and recorded in 1930's first solo recordings for Czech Radio.
Canzonetta is allegedly piece composed originally for violin and piano. I have heard it on famous Františiek Pošta's LP "Kontrabasovy recital", an album that was my big inspiration to start learning double bass. I have found recently in my cabinet an old copy of the handwritten piano part of "Canzonetta" given to me by a Pošta's student in the 1980's and I would like to popularize this wonderful music with this free version of the PDF score.
Kuchynka Canzonetta DOUBLE BASS
Kuchynka Canzonetta PIANO
 

LÁSKA, Gustav
Etude in C major, technical exercize, very useful for basic bowing variants
Tuning: any
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PAJARILLO
Venezuelan traditional folk music
Double bass part (may not match all interpretation variants)
Tuning: GDAE
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SCHUBERT, Franz
"Arpeggione" Sonata - URTEXT
D 821 (opus posth.) only 1st movement - double bass part only (transp. in D / AEBE)
High quality editorial style, typical for the items in this online shop, enjoy the urtext version
Compare the unsupplemented composer's text with another double bass releases
A full version will be released in the online shop ETA beginning of 2021
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VAŇHAL (also: Vanhall, Vanhal, Wanhal, Van Hall), Johann Baptist
Concerto for double bass and orchestra, solo part in D major - HISTORICAL SOURCE (complete part, incl. tuttis in the appendix).
Originally composed and carefully adapted for "Viennese tuning", this frequently played work is at times quite problematic to transpose on a modern double bass tuned in fourths. Here is a worthy alternative for the soloists in D major, which has a bit better compatibility with the original than the variant in C major. The differences in direct comparison to the more frequently played variant in C major:

• some octaves are lower than in the historical source, the manuscript of J. M. Sperger and sound more "bassy", in the natural register of the double bass
• in the performance of the entire concerto, fewer adjustments are necessary overall than in the part in C major, especially in the 3rd movement
• in this way, depending on the tuning, the performance is likewise possible in the sounding D major, E major, but also in the original key (E-flat major), if desired: for example if the "solo tuning" is tuned a half tone lower

Complete orchestral material formatted to the highest professional standards is available in all three keys. The orchestral editions also include the historical cadenzas (composed by Václav Pichl)
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VIVALDI, Antonio
 Concerto RV 409 in E minor (originally for solo cello with obligate bassoon, strings and b. c.) URTEXT
- only solo part for double bass (instead of cello) in cGDA tuning
A release of the complete orchestral material is planned here in the online shop, ETA unknown.
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ZIMMERMANN, Anton
Concerto for double bass and orchestra in D major URTEXT
- only solo part for double bass in GDAE tuning
It is interesting how long one of the best early classical concertos for double bass and orchestra has remained unnoticed and largely unknown. A superlative concerto is still waiting to be "discovered" by many more.
A release of the complete orchestral material is planned here in the online shop, ETA unknown.
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DOUBLE BASS ENSEMBLES

LÀ-HAUT SUR LE MONTAGNE (Le Vieux Chalet)
Swiss folk song (Canton Fribourg), composed ca 1911 by Abbé Joseph Bovet
Adapted by Božo Paradžik for three double basses
This song has four verses in the original. This version features 1st verse as an intro for two basses in alp horn style, followed by two verses for 3 double basses instrumented slightly different way and a short outro for 2 double basses in alp horn style
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MOZART, Wolfgang Amadeus
Two canons in three voices, KV 507-508
Simple, short compositions, adapted for three double basses by Božo Paradžik
Particularly interesting is KV 508, where the voices appear a tone higher than the previous one
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CHRISTMAS IS COMING
Famous Christmas song composed by Edith Nesbit Bland, as canon for four voices, adapted by Božo Paradžik
Score only (suono reale), without markings
Full versions of this arrangement with the parts for various scordaturas are available in the online shop.
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