Hofmann, Leopold: Violin Concerto in A major (Badley A2) (AE031)

Hofmann, Leopold (1738-1793)

The present work was advertised in Supplement I (1766) of the Breitkopf Catalogue and is the earliest datable violin concerto of Hofmann although perhaps not the first composed. In addition to the two copies upon which this edition is based, a third set of parts is preserved in Stift Schlgl in Austria. There are a number of interesting variants between the two Swedish sources, the most important being the introduction of second violin part broken chord figurations in the finale of the score preserved in The Swedish Music Library. Based on similar passages found earlier in the movement these variants have been added by a later hand. Modified somewhat by the editor, this amended part has been adopted for the edition on the grounds that it is not uncharacteristic of the composer's style and is more interesting texturally than the bald doubling of the first violin part otherwise on offer. Like many of Hofmann's other concertos, the detailed articulation markings in the solo part, largely present in both sources, reveal a composer sensitive to the solo instrument's every nuance. The principal source for this edition is a contemporary manuscript score from the Alstrmersamlingar now in the possession of The Music Library of Sweden (formerly Musikaliska Akademiens Bibliotek). The score is headed " Concerto del Sigre Hoffmann " and is for the most part neatly and accurately copied; variants in the second violin part, discussed above, have been added by a later hand. A second source, preserved in the Sifts-och landsbiblioteket Lnsbibliotek i Skarborgs ln (189) has also been consulted to clarify a number of readings.

In the absence of the autograph score or a set of authentic parts the edition presents as faithfully as possible the intentions of the composer as transmitted the two Swedish sources. As is usual in Hofmann's concertos there are no dynamic markings in the solo sections; these are left to the discretion and good taste of the performer. The style and notation of articulation and dynamic markings have been standardized throughout, and, where missing from the source, reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth century sources, the present manuscripts are very inconsistent in their notation of appoggiature ; these too have been standardized to minimize confusion. Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets. Allan Badley