The four contrasting movements combine musical and technical challenges in equal measure, exploiting the virtuosic and singing qualities of the double bass, contrasting a colourfully dramatic and independent piano accompaniment which creates a late-romantic sound world, with echoes of times past.

Sonata No.2 is a work of contrasts and challenges with many opportunities to display more than simply technical proficiency and to demonstrate that the double bass is a serious solo instrument and capable of so much more than non-bassists realise. If any pieces will help to dispel the myth that the double bass is only an orchestral instrument, the sonatas by Adolf Mišek are the ones to do this.

The influence of Brahms and the late-romantic composers of the day are evident in the opening movement, which is full of bravura, romantic breadth and spirit and Brahmsian in design and scope, beautifully contrasted by the slow second movement which is passionate, tender and expressive, alongside its underlying feeling of lost-love and melancholy. The third movement is the most ‘Czech’ of the four with its use of the furiant, an exuberant Bohemian folkdance in 3/4 time but with cross accents to give an impression of 2/4 time. Dvořák composed a number of furiants and his influence can be felt throughout the movement. The finale is dramatic and passionate, full of great energy and momentum, bringing this wonderful sonata to a powerful and successful conclusion. Mišek challenges the bassist, both technically and musically, and certainly knew how to exploit the possibilities of the solo double bass across its entire register. The edition includes two bass parts – one clean and one with the composer’s original fingerings.