Scribd Logo
Upload

Welcome to Scribd!

  • Ae642vs C

    Uploaded by

    Artaria Editions
    77 views24 pages
    ae642_c

    Original Title

    ae642vs_c

    Copyright

    © © All Rights Reserved

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    ae642_c

    Copyright:

    © All Rights Reserved
    Flag for inappropriate content
    77 views24 pages

    Ae642vs C

    Uploaded by

    Artaria Editions
    ae642_c

    Copyright:

    © All Rights Reserved
    Flag for inappropriate content
    of 24
    ARTARIA EDITIONS Balitrial Board ALLAN BADLEY FF EISEN ROBERT HOSKINS + BERTIL VAN BOER LEOPOLD HOFMANN ‘Missa Sancti Erasmi (Badley D4a) Edited by Allan Badley Ai ONS AEsL2Ivs LEOPOLD HOFMANN ‘Misa Sancti Era (Badley Da) Source ~Seitenstetten, BenedltinerstiftD XIL3 Esitor ~All Badley| Engraving & Layout ~ Promethean Editions Limited © Artaria Editions Limited 2023 Published by Artara Editions (Tong Kong) Limited in Hong Kong, ISBN 974-588-8708-88-8 (print) ISBN 974-988-8708-88-5 (git) ISMN 979.0-805700-55-8 ABeNS- i FOREWORD Sgr, comput ie shoe sot H's pets eben th poston lel es is private life, Unlike many professional musicians of the period, Hofmann was not bor into a family of musicians, His fa- ther, Georg Adam Hoflimann (16381765), was born in Bohemia but, like many of his ambitious counteymen, he Inad moved to Vienna which offered far greater prospects for advancement. As a young man he had studied jurispru- dence, and atthe time of Leopold's birth, he was Hofmeister (tom 1739, Hofkammerdienet) to Count Johann Adam von Questenberg. While he was not a professional musician, Hoffmann senior was vitally interested in musical matters, His letters to Questenberg, which are preserved among the Questenberg papers in the Moravian State Archives in Brno, reveal in Jana Perutkova’s assessment, “that he had good taste and was well versed in all kinds of art, expecially in music. sical thes very insightful and show that the author was a musician’ is judgements about music and m ae always Leopold's godéather-and the man after whom he was named anections such as was Count Leopold von Dieteichstein, C these were important in Vienna and doubtless proved useful in Hofmann’ later professional advancement. Hofimann’s musical ability clearly revealed itself early, and it is possible that his father's connections smoothed the way for him to join the chapel of the Dowager Empress Blisabeth Cl member of the chapel, he received a thorough musical edu- stine as a chorister in his seventh year. As a calion and studied keyboard playing and later composition with the chapel’s organist, Georg Christoph Wagensel, one of the most progressive composers of instrumental music in Vienna a this time. Although his violin teacher is unknown, liana Coun ohana Ati en Gaeta flan pea Sangin Moc Sears epaesnes (at) Gu at Neat Berl Ove eh Maan! Mobis ond Ms Mist n Baty Neen Bere: Bop ters it is possible that he had lessons with Giuseppe Trani, an- other prominent member of the Dowager Empres#’s chapel, who taught the young Carl Ditters, After the dissolution of the chapel in 1750 following Elizabeth Christine's death, ‘Hofmann continued to study privately with Wagensel whose ‘works exerted a strong influence on his development as a composer. ‘The earliest known compositions attributed to Hofmann ate from the late 1750s and include symphonies, fate con- certos and atleast one small-scale sacred work, a setting of an Alleluja for bass solo, choir, two violins and continue, Sieber’ publication in Paris ofa set of six symphonies by Hofmann is evidence that his reputation as a composer was well estab- lished by 1760, and further proof of this ean be found in the acquisition of his works by a number of the great Austrian monastic foundations, including Gotwweig, which began around this time, ‘Hofmann’ first known professional post — as muscu at StMichaet’s (1758) —was followed quickly by the musical di- rectorship of St Peter's ca 1764 and, in 1769, appointment as Klaviermeister at court, a role in which he had been deputis- ing for Wagensei for several yeas, Many of Hofmann's key- board concertos like those of Wagenseil, appear to have been written in connection with hie activities at Klaviermeister although this did not restrict their wider dissemination, While he was appointed specifically as Klaviermeister to the young Archduchess Theresia at the specific request of Joseph If, Hofmann wrote in his petition for the post of Hofkapellmeister in 1774 that he had also taught "Their Most Serene Highnesses the Archduke Maximilian ... Archduchess Elisabetha, Archduchess Amalia and Archéuchess Josepha’ ‘Two years earlier, he had secured the prized position of Kapellmeist leclined the di- rectorship of the Hofkapelle on learning thatthe conditions ¢ Stephen's Cathedeal b of appointment would requize him to relinquish his other decision to petition forthe post again in 1774 following the unexpected death posts including St Peter's fofmann’ Florian Leopold Gassmann may indicate a change of stance fn this issue, but in the event the petition was declined in spite of his being considered the best-qualifed candidate for the position, A confidential memorandum concerning the appointment reveals concern that Hofmann’s resigna- tion from the cathedral would open the way to Tobias Gaur succeeding to the position, Geur was evidently considered ‘unsuitable and the decision was made to leave Hofmann ‘where he was and bring Joseph Bonno out of rettement to fill the court post. ‘The politicking involved in the court appointment say have effectively blocked Hofimann's immediate career prospects in Vienna, but his personal citcumstances seem tw have improved dramatically around this time following his marriage to Maria Anna Kiermayr, the daughter of a ‘goldsmith, on a May 1774.By 1776 Hofmann had acquized a property in Dobling where he is listed among the benefic~ tors of the parish. The Hofimanns were prominent mem- bers of their litle community, frequently lending money to their neighbours to purchase and, undertake improve- sents o their properties and other matters. The income they derived from such ventures supplemented Hofmann's various professional sources of income and enabled he and. his wife to lead a comfortable and prosperous le Ttis clear that much of Hofmann’s music was written ‘on commission for other musical institutions and private individuals even after his appointment to St Stephes's in 17722 How long he remained productive as a composer is ‘uncertain, but it seems likely that majority of his extant ‘works were composed between ca 1760 and 1780, Hofmann,

    You might also like