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    ARTARIA EDITIONS Baitrial Board ALLAN BADLEY » CLIFF EISEN ROBERT HOSKINS + BERTIL VAN BOER LEOPOLD HOFMANN Violin Concerto in A (Badley A2) ait by Allan Bad ABS AEoie LEOPOLD HOFMANN Violin Concerto in A(Badley A2) Sources Wien, Gesllichat der Musiefcunde (1X 32313 Q16656) itor ~All Badey| Engraving & Layout ~ Promethean Editions Limited 6 Ataris Editions Limited 2022 Published by Artara Editions (Hong Kong) Limited in Hong Kong, ISBN 974-888-8708-60-4 (print) ISBN 978-688-8708-51-1 (git) ISMN 979.0-805700-67-0 cere FOREWORD copold Hofmann (2738-1793) was regarded by his | contemporaries as one of the mos gifted and influen ial composers of his generation. Although a church msician 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 numberof surviving manuscript copies ‘The son of a senior and highly-educated civil servant, Hofmann revealed his musical abilities ‘on andat the age ‘of seven joined the chapel of the Empress Dowager Blisabeth Christine as a chorister, As a member of the chapel he re- ceived a broad musical education studying keyboard—and later composition—with Georg Christoph Wagensei, the ‘most important and influential composer of instrumen- tal music in Vienna at this me, and violin, possibly with Giuseppe Trani, Dittersdort’s teacher. Hofmann's earliest known compositions date fom the late 1750s and include symphonies, flute concertos and @ number of small-scale sacred works, His reputation must hhave spread well beyond Vienna by 1760 since Sieber, the Parisian publisher, printed six of his symphonies that year and a number of the great Avstrian monastic houses, includ ing Gottweig, began assiduously collecting his music from around this time, In his native Vienna, the city Dr Charles Burney de- scribed 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 direc- torship of St Peters and, in1769, an appointment as keyboard teacher tothe imperial family, probably on the recommenda- tion of Wagenseil. Three years later, Hofimann secured the prized position of Kapellmeister at St Stephen's Cathedral and in a gesture of supreme professional confidence, de- the directorship of the Imperial Chapel on learning that the conditions of appointment would require him to telinguish his other lucrative posts including St Peters

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