Hofmann, Leopold (1738-1793)

This edition is based principally on ‘Hofmann’s’ copy of the work at St Peter’s. The wrapper reads: ‘Requiem / à / 2 Voci in pieno choro / 2 Violini / 2 Viole sole / 2 Tromboni Concti / 2 Clarini / e Organo / ad Chorum Sancti Petri / Del Sigl. Leopoldo de Hoffmann / M:D:C: di Sancto Steffano, / Parti 20’. The identification of Hofmann as Kapellmeister at St Stephen’s argues for a post-1772 date for this copy which consistent with the other Hofmann works in this source.

The Hofkapelle copy has been used for verification but the viola part, which is certainly not authentic, has been included in this edition to reflect the performance tradition at the Hofkapelle and because Hofmann employs a pair of violas as solo instruments in the work.

The large number of parts for the work made it necessary to divide the work into three independent folders: 1) ‘Requiem / a / 4 Voci / 2 Violini / 2 Tromboni / 2 Clarini / Viole. Violone / Violoncello. Fagotto / Organo. M:D:C: / 2 Oboe ad libitum [new hand] / Del Sigl: Leopol: Hoffmann 1 Parti 36’; 2) ‘Dies Irae / a / 4 Voci / 2 Violini / 2 Trombini Concti / Viole obl. Violone / Violoncello. Fagotto / Del Sigl: Leopol: Hoffmann / Parti 34 / oboe -2 [new hand]’; 3) ‘Domine Jesu Christe / a / 4 Voci / 2 Violini / 2 Tromboni Concti / Viole. Violone / Violoncello. Fagotto / Organo. M:D:C: / 2 Oboe ad libitum / Del Sigl: Leopol: Hofmann / Parti 34 / oboe -2 [new hand]’.

In the absence of both the autograph score and an authentic set of parts, this edition presents as faithfully as possible the intentions of the composer as transmitted in the two sources. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the respective sources, markings have been re-constructed from parallel passages. These are indicated by the use of dotted slurs or brackets. Like most eighteenth-century sources, the present manuscripts are inconsistent at times in its notation of appoggiature; these too have been standardised to minimise confusion.

Obvious wrong notes have been corrected without comment; editorial emendations with no authority from the source are placed within brackets.

Allan Badley