This musically-charming work, full of technical trickery, is with justification demanded time and again as a test piece or set piece for competitions. in order to accommodate the "Viennese tuning" used at the time, Henle also provides a solo part in fret notation. The piano part in D Major and E Major (!) can be used to accompany the double bass part either in its solo or orchestral version. As an alternative to the familiar cadenzas by Sperger, editor Tobias Glöckler has added two further tuneful and stylistically-appropriate cadenzas of his own.
Contains piano reduction in D+E (with parts in solo-, orchestral- + "viennese" tuning)