A RTARIA E DITIONS

Editorial Board

Allan Badley • CLIFF EISEN

Robert Hoskins • Bertil van Boer

Leopold Hofmann

Organ Concerto (Badley C1)

Edited by Allan Badley

AE
ARTARIA EDITIONS
AE560

Leopold Hofmann
Organ Concerto (Badley C1)
Source – Kroměříž, Arcibiskupský zámek a zahrady (A-3237)
Editor – Allan Badley
Engraving & Layout – Promethean Editions Ltd.
© Artaria Editions Limited 2019
Hong Kong
ISBN 978-988-8529-54-4 (print)
ISBN 978-988-8529-55-1 (digital)
ISMN 979-0-805700-27-4

AE560 – ii
 FOREWORD
L
eopold Hofmann (1738–1793) was regarded by his
contemporaries as one of the most gifted and influen-
tial composers of his generation. Although a church
musician by profession, Hofmann was also an important and
prolific composer of instrumental music. His symphonies,
concertos and chamber works were played all over Europe
and the avidity with which they were collected is attested to
today by the large number of surviving manuscript copies.
The son of a senior and highly-educated civil serv-
ant, Hofmann revealed his musical abilities early on and at
the age of seven joined the chapel of the Empress Dowager
Elisabeth Christine as a chorister. As a member of the chapel
he received a broad musical education studying keyboard–
and later composition–with Georg Christoph Wagenseil, the
most important and influential composer of instrumen-
tal music in Vienna at this time, and violin, possibly with
Giuseppe Trani, Dittersdorf ’s teacher.
Hofmann’s earliest known compositions date from the
late 1750s and include symphonies, flute concertos and a
number of small-scale sacred works. His reputation must
have spread well beyond Vienna by 1760 since Sieber, the
Parisian publisher, printed six of his symphonies that year
and a number of the great Austrian monastic houses, includ-
ing Göttweig, began assiduously collecting his music from
around this time.
In his native Vienna, the city Dr Charles Burney described
as “the imperial seat of music as well as of power”, Hofmann
became a figure of consequence. His first known professional
post–as musicus (probably violinist) at St Michael’s (1758)–
was followed quickly by the musical directorship of St Peter’s
and, in 1769, an appointment as keyboard teacher to the im-
perial family, probably on the recommendation of Wagenseil.
Three years later, Hofmann secured the prized position of
Kapellmeister at St Stephen’s Cathedral and in a gesture of
supreme professional confidence, declined the directorship
of the Imperial Chapel on learning that the conditions of
appointment would require him to relinquish his other lu-
crative posts including St Peter’s. His decision to petition for
the post in 1774 following the unexpected death of Florian
Leopold Gassmann, may indicate a change of stance on this
issue although in the event, his petition was declined in spite
of his recognition as being the best-qualified candidate for
the position. A confidential memorandum concerning the
appointment reveals concern on the part of the authorities
that Hofmann’s resignation from the Cathedral would have
AE560 – iii
opened the way to Tobias Gsur succeeding to the position.
He was evidently considered a quite unsuitable candidate by
the committee who instead decided to leave Hofmann where
he was and bring Giuseppe Bonno out of retirement to fill
the court post.
The politicking involved in the court appointment may
have soured Hofmann since his output of new works begins
to tail off from the mid-1770s and there is little evidence that
he continued to compose on a regular basis much after 1780.
He continued to hold the post of Cathedral Kapellmeister
until his death in March 1793 but the last decade of his ten-
ure cannot have offered him much professional satisfaction
given the impact on his immediate working environment
of Joseph II’s new regulations governing church music.
Hofmann seems to have virtually withdrawn from Viennese
musical circles during the 1780s and little is known of his last
few years save that for a brief period in 1791 Mozart probably
acted as his “unsalaried adjunct” in the hope of securing the
reversion when Hofmann retired. Ironically, the extremely
wealthy Hofmann outlived his financially-strapped assistant
by some fifteen months.
Hofmann must have been a very proficient keyboard
player and an excellent violinist although nowhere is he re-
ferred to as a virtuoso on either instrument. The idiomatic
quality of the solo writing in his concertos for these instru-
ments suggests that he was sensitive as a player to the tech-
nical possibilities offered by each instrument. The extant
manuscript copies of Hofmann’s keyboard concertos, as
well as references to the works in contemporary catalogues,
overwhelmingly use the designation clavicembalo or cem-
balo for the solo instrument. While this term continued to
be used until the end of the eighteenth century even when it
was clear that works were being composed to exploit the ex-
pressive possibilities of the fortepiano, Hofmann’s concertos
were undoubtedly written for the harpsichord. The only ex-
ceptions to this are Concertos C1, C2, C4, C6 and Concertino
C5 whose limited upper range made them suitable for per-
formance on the eighteenth-century Viennese organ. A sin-
gle extant solo part is designated for cembalo or fortepiano
but there is nothing in the keyboard writing itself to suggest
that Hofmann was composing for a different instrument: it
is written throughout in the generic keyboard style typical of
mid eighteenth-century Viennese keyboard works.
The earliest known copies of keyboard concertos by
Hofmann have been dated to ca 1764. It is possible that he
composed works that predate these three concertos but, if
that is the case, they remain either unidentified or lost.
Fifteen keyboard concertos were advertised by Breitkopf
between 1770 and 1784, but only two were listed after 1772,
the year Hofmann was appointed Domkapellmeister. One of
these works, Concerto C1, was at least twelve years old by
the time it appeared in Breitkopf ’s catalogue supplement for
the years 1776–1777, a timely reminder of the need to exercise
caution when dating works by this means. With this caveat,
it is nonetheless clear that Hofmann’s cultivation of the key-
board concerto was largely confined to the 1760s and that the
concentration of works towards the latter part of the decade
coincided with his increased teaching commitments at the
Viennese court. Like the composer’s symphonies, Hofmann’s
keyboard concertos were written within a comparatively nar-
row time span and display a greater consistency in matters
of style and structure than is to be found in the works of
contemporaries such as Joseph Haydn and Johann Baptist
Wanhal who produced concertos over a period of several
decades.
Hofmann’s most intensive period of teaching probably
occurred between ca 1764–1765, when he began deputizing
for the Hofklaviermeister Wagenseil, and 1769. It was during
these years that he composed most of his known keyboard
concertos; even if these works were not specifically composed
for use at court, they display an unmistakable kinship with
the many concertos Wagenseil is believed to have written for
his imperial pupils. This is to be expected, not only because
Hofmann was Wagenseil’s pupil and may have been required
to maintain continuity in teaching style, but because the
mid-century Viennese keyboard concerto itself, as Martin
Eybl has argued, was essentially a product of the court that
later found its way to a wider musical audience. Irrespective
of the identity of their intended recipients, Hofmann’s con-
certos were written in a style consistent with the traditions
established by Wagenseil and the differing degrees of techni-
cal difficulty encountered across the works, greater than is
the case in the composer’s other concertos, may be accounted
for in part by the ages and abilities of his pupils.
Whatever Hofmann’s motivation may have been for
composing keyboard concertos, his works soon became
known outside the court and its immediate environs. It is un-
clear how they came to the attention of Breitkopf in Leipzig
and what effect his advertisement of them may have had in
terms of their dissemination, but manuscript copies of the
works appear to have circulated throughout a comparatively
wide geographical area. Although many of the works sur-
vive in small numbers, a not uncommon phenomenon with
eighteenth-century concertos, there is sufficient evidence to
AE560 – iv
show that they enjoyed a reasonable level of popularity and
continued to be copied until the turn of the century.
C
oncerto C1, the last of Hofmann’s keyboard con-
certos to be advertised in the Breitkopf catalogue
(Supplement XV, 1776–1777), is one of a group of
works owned by his pupil Archduchess Elisabeth. On the ba-
sis of its watermarks, her copy of C1 appears to date from
ca 1764. Although the work’s date of composition is unknown,
Concerto C1 is one of Hofmann’s earliest datable keyboard
concertos and is notable for its fuller instrumentation (which
includes oboes and horns in the outer movements) and its
restricted keyboard range which may signify its origins as
an organ concerto. Proof that the work was performed on
both organ and harpsichord can be found in the two copies
preserved in in the impressive collection of Hofmann’s key-
board concertos in the music archive at Kroměříž. In spite of
the prolix and stylistically primitive second solo in the open-
ing Vivace, the movement’s large-scale musical architecture
is thoroughly modern. Not only is there a full recapitulation
of thematic material in Solo III, a defining characteristic of
the Viennese symphony but not of the Baroque instrumen-
tal concerto, but the recapitulation itself is launched by the
ensemble in Ritornello III after the retransition is effected in
the closing phase of Solo II.
In spite of its musical strengths, Concerto C1 survives
in just one complete copy in the music archive at Kroměříž.
A second copy, from which only the solo part and Violin II
survive, is also preserved in this source. The dating of these
copies is uncertain but both solo parts clearly derive from a
different source to Archduchess Elisabeth’s manuscript. The
paucity of physical evidence makes it impossible to establish
whether Elisabeth’s version was ever in general circulation,
but it is tempting to speculate that Concerto C1 may have
been composed for her and the other copies derive from a
later version of the work. Elisabeth’s copies of two of other
works (Concertos A1 and F1) also contain significant tex-
tual variants that are otherwise unknown. That three of her
Hofmann concertos exhibit independent lines of descent
adds some weight to the argument that the works might have
been written for her.
The instrumentation of Concerto C1, perhaps of ac-
count of its greater size, is unusually inconsistent in the
sources. The wrapper of Archduchess Elisabeth’s copy lists
both oboes and horns but the only complete copy of the
work to survive replaces the horns with trumpets (clarini)
and adds a timpani part. A second copy of the work pre-
served in the same location again specifies clarini but omits
the timpani. The substitution of clarini for horns is encoun-
 tered elsewhere in the Kroměříž collection but there is no ev- larger than usual instrumentation.
idence that any of the material was actually used in Moravia; In the absence of both the autograph score and an au-
this obviously weakens the case for considering it as being thentic set of parts, this edition presents as faithfully as pos-
indicative of local performance practice. That none of the sible the intentions of the composer as transmitted in the
three known copies of Concerto C1 matches Breitkopf ’s in- Kroměříž source. As is usual in Hofmann’s concertos, there
strumentation (which includes a pair of oboes but neither are no dynamic markings in the solo sections; these are left
horns/clarini nor timpani) highlights both the flexibility of to the discretion and good taste of the performer. The style
instrumentation that prevailed in the mid-eighteenth cen- and notation of articulation and dynamic markings have
tury and the non-essential role of the auxiliary instruments been standardized throughout and, where missing from the
in this particular concerto. Unfortunately, it does not help source, markings have been reconstructed from parallel pas-
to establish what the original instrumentation of the con- sages. These are indicated by the use of dotted slurs or brack-
certo might have been. The one common factor in all four ets. Like most eighteenth-century sources, the present manu-
references to the work is the inclusion of oboes. While this script is inconsistent in its notation of appoggiature; these
by no means unique in Hofmann’s concertos, it is sufficiently too have been standardized to minimize confusion. Obvious
unusual to be noteworthy and for that reason it seems very wrong notes have been corrected without comment; editorial
likely that the parts are authentic. The preservation of only emendations with no authority from the source are placed
one full set of instrumental parts prevents a reliable conclu- within brackets.
sion being reached about the exact nature of the clarino parts.
In range, style and the technical demands they make of the Allan Badley
players, they are indistinguishable from horn parts and may
represent a simple substitution. The evidence is altogether
weaker to support Hofmann’s authorship of the timpani part
although there is nothing intrinsically unconvincing about
its style. It may have been written locally and specifically for
performance of the work as an organ concerto with clarini.
In the present edition, the timpani part is printed in smaller
type.
This edition is based on the one complete set of parts to
survive: Kroměříž, Arcibiskupský zámek a zahrady, A-3237:
“Concerto / per il Organo / a / 2 Violini / Alto Viola / 2 Oboe
/ 2 Clarini e Tympano / con / Basso / Del Sigl: Leopoldo
Hoffmann”.
Although for the most part neatly copied, this set of
parts does not appear to be the work of a professional copy-
ist. There is neither a wrapper for the complete set of parts
nor, as is often the case, is the first page of the solo part used
as a title page. It is unclear, however, whether the title writ-
ten above and in the upper staff of the first system of the
solo part and incorporating the tempo marking – ‘Concerto
Vivace per il Organo…’ – replaces a lost wrapper; but it is
written in the hand of the copyist and appears to be contem-
poraneous with the copying of the part itself. The solo part
does not include a figured bass but the ritornello sections in-
clude frequent dynamic markings that largely replicate those
found in the Basso part. There are no Solo-Tutti markings in
the part except on the rare occasion when a page turn leads
directly into a new solo section. Neither are there Solo-Tutti
markings in the other instrumental parts which may indicate
that the work was performed with single strings in spite of its
AE560 – vi
 ORGAN CONCERTO in C Leopold Hofmann
(Badley C1)
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© Artaria Editions Limited 2019
AE560 – 1
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AE560 – 2
 26
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AE560 – 3
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AE560 – 4
 52
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57
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AE560 – 5
 63
Ob & ∑ ∑ ∑ ∑ ∑

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AE560 – 6
 73
Ob & ∑ ∑ ∑ ∑ ∑

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78
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AE560 – 7
 83
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Vn II & j ‰ Œ ∑ ∑ ∑ ‰
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89
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Vn I & ∑ ∑ ∑ ∑ ∑ Œ ‰ J
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a
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AE560 – 8
 95
Ob & ∑ ∑ ∑ ∑ ∑

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œ ‰ œ ‰ œ ‰ œ ‰ ∑ ∑ ∑
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100
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AE560 – 9
 ˙˙ ˙˙ ˙˙
105
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AE560 – 10
 j œ œ œ œ
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117 v
Ob & œœ ‰ Œ ‰ œ œ œœ # œœ œ œ œ ∑ ∑ ∑

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123
Ob & ∑ ∑ ∑ ∑ ∑

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& œ ‰ Œ ‰ œe œ ‰ Œ ‰ œÆ œ J ‰ Œ
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Vn II

Va B ∑ ∑ ∑ ∑ ∑

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AE560 – 11
 128
Ob & ∑ ∑ ∑ ∑ ∑ ∑

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134
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AE560 – 12