Thanks to its wealth of invention, elegant workmanship, and technical and musical challenges, Franz Anton Hoffmeister’s Concerto ‘no. 1’ has emerged as the preferred concerto for double bass auditions. Tobias Glöckler’s edition leaves no wishes unfulfilled: the double bass part appears in solo and orchestral tuning with piano reductions in D major and C major. Moreover an additional part, written in fingering notation, has been specially designed for use with the ‘Viennese tuning’ customary in Hoffmeister’s days. It allows players to use this resonant historical tuning immediately without tedious retraining. Finally, a separate part is also provided for the solo violin appearingin the second movement.?
