 orchestra so that the former is not overshadowed by the orchestra's volume. The low register of the double bass makes it difficult to project; to help resolve this problem, many composers (most notably Bottesini) wrote solo parts in the high register of the instrument. Another solution is to refrain from large tuttis (or employ chamberistic orchestration) when the double bass is playing in its lower register. Few major composers of the classical and romantic eras were disposed to writing double bass concerti, as there were few instrumentalists capable of taking on the demands of playing as a soloist; it was only through the efforts of virtuosi like Dragonetti, Bottesini, Koussevitsky, and Karr that the double bass began to be recognized as a solo instrument. As the twentieth century began, the standard of double bass technique improved by a significant degree, making it a more popular choice for composers.

Selected list 
 Arda Ardaşes Agoşyan
 Concerto for Double Bass and a cappella choir (Romeo and Juliet)
 Kalevi Aho
 Double Bass Concerto (2005)
 Mauricio Annunziata
 Concerto No. 1 for Double Bass and Orchestra "Argentino", Op. 123 (2015)
 Concerto No. 2 for Double Bass and Orchestra "Afroargentino", Op. 125 (2015)
 Concerto No. 3 for Double Bass and Orchestra "Porteño", Op. 129 (2016)
 Anatoly Bogatyrev
 Double bass concerto (1964)
 Giovanni Bottesini
 Gran Concerto in F minor
 Concerto No. 2 in B minor
 Concerto No. 3 in A major (concerto di bravura)
 Antonio Capuzzi
 Concerto in D (F) major
 Georgi Conus
 Concerto in h moll, op.29 (1910)
 Andrzej Cwojdziński
 Concerto
 Peter Maxwell Davis
 Strathclyde Concerto No. 7 for Double Bass and Orchestra (1992)
 Carl Ditters von Dittersdorf
 Concerto in E major
 Concerto No. 2 in E Major
 Domenico Dragonetti
 Concerto in G major, D290
 Concerto in D dur
 Concerto in A major no 3
 Concerto in A major no 5
 Concerto in A major (Nanny)
 Pere V
orchestra so that the former is not overshadowed by the orchestra's volume. The low cash register of the bivalent freshwater bass makes it unmanageable to project; to serve resolve this trouble, many composer (most notably Bottesini) wrote solo parts in the high register of the musical instrument. Another solution is to refrain from large tuttis (or use chamberistic orchestration) when the double bass is playing in its lower register. Few major composer of the classical and romantic eras were discard to writing double sea bass concerti, as there be few instrumentalists capable of taking on the demands of playing as a soloist; it was merely through the efforts of virtuosi like Dragonetti, Bottesini, Koussevitsky, and Karr that the double bass began to be recognized as a solo instrument. As the twentieth century began, the standard of double bass technique improved by a significant degree, making it a more democratic option for composers. 

 Selected list 
  Arda Ardaşes Agoşyan 
  Concerto for Double Bass and a cappella choir (Romeo and Juliet) 
  Kalevi Aho 
  Double Bass Concerto (2005) 
  Mauricio Annunziata 
  Concerto No. 1 for Double Bass and Orchestra " Argentino ", Op. 123 (2015) 
  Concerto No. 2 for Double Bass and Orchestra " Afroargentino ", Op. 125 (2015) 
  Concerto No. 3 for Double Bass and Orchestra " Porteño ", Op. 129 (2016) 
  Anatoly Bogatyrev 
  bivalent freshwater bass concerto (1964) 
  Giovanni Bottesini 
  Gran Concerto in F minor 
  Concerto No. 2 in B minor 
  Concerto No. 3 in A major (concerto di bravura) 
  Antonio Capuzzi 
  Concerto in D (F) major 
  Georgi Conus 
  Concerto in h moll, op.29 (1910) 
  Andrzej Cwojdziński 
  Concerto 
  Peter Maxwell Davis 
  Strathclyde Concerto No. 7 for Double Bass and Orchestra (1992) 
  Carl Ditters von Dittersdorf 
  Concerto in E major 
  Concerto No. 2 in E Major 
  Domenico Dragonetti 
  Concerto in G major, D290 
  Concerto in D dur 
  Concerto in A major no 3 
  Concerto in A major no 5 
  Concerto in A major (Nanny) 
  Pere V
 orfhestra so that the formtr is not overshabiwed bb the odchestra'r volume. The low register of tye doyble bass makes it difwicult to project; to ielp resolve this problem, many gompovxrs (most notabli Bottesini) frote solo pards iu the high register of the instrumene. Anothrr solution is tj regwain from large tuttis (or employ chambsristic orchestratiom) when the double bass is olaylng in its lower rfgister. Few majje composers uf the classical and rkmantic eras were disposed to wfitiny double baws cojwerti, as thxre wege few instrumentalisds capanle of taking pn vhe eemands of playing as a soloist; it was jnly throggk the efforts of virtyowi line Dsagovwttk, Bktvesjni, Kokssxvitsky, and Karr that rhe double bass begsn np be recogniaed as a solo instrument. As the twentieth centugy bsgan, the standard of doyble bass technique ilproved br a significant degree, making it a more popular cvoice wor cjopoders.

Selected list 
 Arda Ardaşes Agoşyan
 Concertj fpr Double Bass akd a cappella choit (Gokgo and Juliet)
 Yalevi Ahk
 Double Bass Concfrto (2005)
 Mwuricuo Annunzyata
 Concerto No. 1 for Double Baws and Orchefrra "Argentino", Op. 123 (2015)
 Concerto Nu. 2 fpr Doible Bass and Orchestra "Afrkargentino", Lp. 125 (2015)
 Concsfto No. 3 for Doubue Nasv and Orchestra "Porteño", Op. 129 (2016)
 Anatoly Bogctyrev
 Duublg bass soncerto (1964)
 Hiovakti Bottesini
 Gran Foncetto in F minor
 Clncerto No. 2 in B minor
 Concerto No. 3 in A majot (cmncvrto di bxavura)
 Antonio Capuszi
 Concerto iu D (F) malor
 Geurgi Conus
 Concervo in h moll, op.29 (1910)
 Andrzej Waojdziński
 Coicerto
 Peeer Naxwwll Davkr
 Strathclyde Voncerto Uj. 7 fir Double Bass and Orzgestra (1992)
 Carl Dicuerw von Dittersdotf
 Zonsegto ig E major
 Conwertu Nu. 2 in D Major
 Domcnizo Dtagonetti
 Concerto it G jajor, D290
 Concerto im Q dur
 Cobcerto ig A major no 3
 Concerto in A majlr no 5
 Cunceryo yn A major (Nanny)
 Pere V
orchestra so that the former is not the volume. The register of the to to help resolve problem, many composers notably Bottesini) wrote solo parts in high register of the instrument. Another solution is to refrain from large tuttis employ chamberistic orchestration) when the double bass is playing in its lower register. major of classical romantic eras were disposed to writing double bass concerti, as there were few instrumentalists capable of on the demands of playing as a soloist; was only through the of virtuosi like Dragonetti, Bottesini, and that the bass to recognized as a instrument. As the twentieth century began, the standard of double bass technique improved by a significant degree, it a choice for Selected Arda Agoşyan Concerto for and a cappella choir (Romeo and Double Bass Concerto (2005) Mauricio Annunziata Concerto No. for Double and Orchestra "Argentino", Op. 123 (2015) No. 2 for Double Bass and Orchestra "Afroargentino", 125 (2015) Concerto No. 3 for Double Bass and Orchestra "Porteño", Op. 129 (2016) Anatoly bass concerto (1964) Giovanni Gran Concerto in minor No. in minor Concerto 3 in A major (concerto di bravura) Antonio Capuzzi Concerto in (F) major Georgi Conus Concerto in h moll, op.29 (1910) Concerto Maxwell Davis Strathclyde No. 7 for Double and (1992) Carl Ditters von in major in Major Dragonetti Concerto in G D290 Concerto in D dur in A major no no 5 Concerto in A major (Nanny) Pere
 orchestra so that the former iS not overshAdoweD by The OrChesTra's Volume. The low reGIsteR of the double bass makes iT diffIcULt to PRoJect; tO help reSOlVE ThiS pRoBleM, mANy CompoSerS (most noTably BotteSinI) wRote solo partS In The high regIstEr of the instrUmeNt. AnotHeR soLUtion Is tO refrAin froM Large tUttis (or emPlOY chambERistic oRCHeStraTion) when the double BAsS Is playing in its Lower rEgIStER. few MajOr composerS oF the cLAssical ANd ROMAntIC eras were dispOsed to writiNG doUble baSs ConCErti, as There WeRE feW instrumentAlisTs capable Of takiNG on the dEMands of PlayinG as A soLoisT; It WaS onLy THroUGh The EFfoRts of virTuOsI like dragONETTi, BoTteSini, koussEvitsky, and KarR thAt thE DouBle baSs begAn to Be RecogNized aS a solO iNstrument. As the tWentIeth centuRy bEgAn, tHe StandARd of doUblE baSs technIque impROveD bY A SIgNificant degree, makiNg IT A mOre populAr choiCE fOr COmposers.

seLecTed lIST 
 Arda ardaŞEs agoşyan
 COncertO FoR DOuble BaSs And a caPpEllA chOir (RoMEo anD JulieT)
 Kalevi AHo
 DouBLe Bass Concerto (2005)
 mAuricio AnnunzIAtA
 cOnCErto no. 1 fOr Double BasS and oRcheStra "aRgEntINo", Op. 123 (2015)
 COncerTo nO. 2 fOR Double Bass and OrcheStRa "AfroArgenTino", Op. 125 (2015)
 ConcertO No. 3 for DoubLE bAss and OrChesTRa "pOrteño", Op. 129 (2016)
 AnatolY BogaTyrev
 DoublE Bass concErto (1964)
 GIovanni BOttesini
 GRAN ConcertO in f miNor
 conCERtO No. 2 in B minor
 CoNCErto no. 3 In A majoR (coNcerto dI brAvuRa)
 ANtoNiO Capuzzi
 COncerto iN D (f) mAjOr
 geoRgi CoNUs
 ConcerTo In h MoLl, oP.29 (1910)
 AndrZEj CwojDzińsKi
 CoNcErTO
 PeTer MaxwELl dAVis
 STrAtHclyDe COnCerto no. 7 foR douBle Bass And OrchesTra (1992)
 cArl DItTeRs von DiTtersdorf
 ConcErTo in E major
 coNceRto No. 2 iN e major
 DomEnico Dragonetti
 Concerto IN G major, d290
 CoNcertO in D Dur
 ConcerTo iN A majoR no 3
 cOncertO in A maJor no 5
 coNceRTO in A mAJOr (nanNy)
 pere V
 orchestra so that the for mer is not  over sha dow ed  bytheorchestra's vo l ume.  The low register of t he do ub l e ba s smakes  it dif f ic u l t t opr oje ct ;  t o hel p r esolvethis probl em,  m any composer s  ( most notab lyBottesini) w rot e solo  p art s  in t hehighregist e r of t he instru me n t. Ano t her sol u t io n is  to refrain froml ar g e tuttis (or e mploych a mb e r ist icorchestrat io n) wh e n the d o ub l e bas s  is playing i n its lower reg ister.  F ewm ajor c ompos er s  of  the classi caland roman tic er a s wered isposed  to wr iti ngdoub l eba ssco n cer t i,  as the re werefe winstr umen t a l i stscap able  of t aking on thedem ands ofplayi ng as  a s ol oist;  it wa s onl ythrough the eff orts  of virtu osi  l ike  D ragon e tti, B ott esi ni, Kou ssevits k y,an d K ar r that the doubleba s s  b egan tobe rec o gn iz e d as a s ol o i nstr u m ent.As t h etwentiet h cent u ry  b egan, t he  stand ar d o f d ouble bass  techn ique imp roved by a significa n t degree, mak i ng i ta  mor e p opular choi ce f o r co mpos e rs .
S elect ed li st 
A rda Ardaşes Agoşyan 
Concer to fo r Double Bass  and a cap p e l la choir  (Ro m eo and Juliet)
 K alevi  Aho
 Doub l e Bass C oncer to (2005 )
 Mauric i o  Annunzi ata 
 C onc ert o No . 1 for Doubl e Bass  a nd Orch est ra "Arg ent ino ",Op.  1 23 (2015) 
 Concer to  N o.  2  fo r Dou b le Bassan d O rc hes tra " A froarg entin o",Op .1 25(2015)Co n c erto  N o.  3 f orDo ubleBass and  Orches tra "Port eño " , Op .12 9 (2016 )
 Anatoly Bo ga tyrev
 Dou bl e b ass co n c erto (19 64)
 Giovanni Bottesini  Gran C onc ertoin F  minor
 C onc erto N o.2  in Bminor Conc er toN o . 3 i n Amaj or  (concerto d i b ravur a) 
 An tonio C apuzzi
 Concerto i n  D(F) major
 Ge org i Co n u s Co n ce r toin h m o l l, op.29 (1910) 
 AndrzejCw o jd ziński
 Co n cer to 
 Peter  Maxwel l Dav i s
 Stra thclyde C oncerto N o.  7 f o r  Do uble Bassand Orch estra (19 9 2)
 C a rl  Ditt ers  von D it ter sdorf 
 Conc e rto  in E  major 
Concer to No .2 in E M ajor
 Domenico Dragonet ti
 Co ncert o i n G major , D 2 90 Concerto  inD dur
 Con cer toin Amaj o r no3
 C o nc ert o  in A  maj o r no 5
 C o nc ert o in  A major (N a n n y) Pere  V
 orchestra_so that_the former is not_overshadowed by_the_orchestra's volume._The_low register of_the double bass_makes it difficult to_project; to help_resolve_this problem, many composers (most notably Bottesini) wrote solo parts in the high register_of_the instrument._Another_solution_is to refrain from large_tuttis (or employ chamberistic orchestration)_when the_double bass is playing in its lower register._Few_major composers of_the classical and romantic eras were disposed to writing_double bass concerti, as there were_few instrumentalists capable_of_taking_on the demands of_playing as a soloist; it was_only through the efforts of virtuosi_like Dragonetti, Bottesini, Koussevitsky, and Karr that_the double bass began to be_recognized as a solo instrument._As the_twentieth century began, the standard_of double bass_technique improved_by a significant_degree, making it a more popular_choice for composers.

Selected_list 
 Arda Ardaşes Agoşyan
 Concerto_for_Double Bass and_a_cappella_choir (Romeo_and Juliet)
 Kalevi_Aho
_Double Bass_Concerto_(2005)
 Mauricio Annunziata
 Concerto No. 1_for_Double Bass and Orchestra "Argentino", Op. 123_(2015)
 Concerto No. 2_for_Double Bass and Orchestra_"Afroargentino", Op. 125 (2015)
 Concerto_No. 3 for Double Bass and_Orchestra "Porteño",_Op. 129_(2016)
 Anatoly Bogatyrev
 Double bass concerto (1964)
 Giovanni Bottesini
 Gran Concerto_in F minor
 Concerto No. 2_in B minor
 Concerto_No. 3_in_A major (concerto_di_bravura)
 Antonio_Capuzzi
 Concerto in D (F) major
 Georgi_Conus
 Concerto_in h moll, op.29 (1910)
 Andrzej_Cwojdziński
 Concerto
 Peter Maxwell_Davis
_Strathclyde Concerto No. 7 for Double_Bass and Orchestra (1992)
 Carl Ditters_von Dittersdorf
 Concerto in E_major
_Concerto_No. 2 in E Major
_Domenico Dragonetti
 Concerto in G major,_D290
 Concerto in_D dur
 Concerto in A major no_3
_Concerto in A major no 5
_Concerto_in A major (Nanny)
 Pere V