Duetto C-major Violin and Violoncello - Leopold Hofmann
edited by Yvonne Morgan
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BPA1807
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In late 18th century Vienna's music scene, cathedral capellmeister Leopold Hofmann's position in the high society was second to none. During his lifetime, according to Burney's account, this 'excellent composer', showered with honours, was put on a level with Joseph Haydn, Gluck, Mozart and Albrechtsberger. Still famous today as the 'true' author of a D major flute concerto ascribed to Haydn, his symphonies, concerti for flute (twelve of them), violin, cello and harpsichord, abundant chamber music (some of it still in manuscript) and numerous church compositions including 12 masses, a Requiem, many graduals, offertories and hymns lead a shadowy existence. This is quite unjustified! A critic of the Wiener Diarium of 1766 admired Hofmann for combining 'seriousness and enjoyment', even considering him 'almost the only one, after Stamitz, to cultivate writing that gives the traverses flute lightness and lyricism'. And who can blame him if, alongside charming melodies, the harmonies in his creations hardly venture beyond the secondary dominant? This also applies to his present 'Duetto / à Violino / & / Violoncello / de / Sigr Leop: Hoffmann [Incipit]', as reads the title page of the manuscript parts, kept in Det Kongelige Bibliotek in Copenhagen. This is lovable, well set Divertimento music, violin and cello attractively alternating. Leopold Hofmann was born in Vienna on 14 August 1738, the son of a valet at court. F. Tuma gave the very gifted child early singing lessons. He taught himself the violin, and later studied composition with Chr. Wagenseil. His first post, in 1758, was as Musikus and Kapellmeister bey St. Peter. In 1769 he succeeded Wagenseil as court keyboard teacher, becoming the teacher of Maria Theresia and her entourage. In 1772 he was made court organist and 'Gnadenbild-Kapellmeister' at St. Stephan's, a post he held until his death on 17 March 1793. As we know, in April 1791 W. A. Mozart applied in vain for an assistant's post at the cathedral. This was later given to Johann Georg Albrechtsberger, who himself succeeded Hofmann as cathedral capellmeister, remaining until 1809. Leopold Hofmann's work vividly illustrates how the history of music and its reception reflect the zeitgeist; while lasting recognition is denied to creators of an artistic genre at the centre of public interest, others, who achieved a lasting place in history, were unreflectingly overestimated. Joseph Haydn's outburst against Hofmann, 'who believes he has carried Parnassus on his own and tries in every case to oppress him (Haydn)' reflects this suspicion, which still affects all participants in art along with 'their' audience. Fortunately, Hofmann's art is released from this zeitgeist.
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Composer(s):
Publisher(s):
Publishernumber:
BPA1807
Instrument(s):
ISBN:
9790015180705
Number:
207852
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