Hofmann, Leopold: Missa Sancti Aloysii (Badley D8) (AE409) – sheet music

$90.00

The performance material for this work is available for hire.

Please use this form to send us the details about your planned performance and we will be in touch with you as soon as possible with more details.

If you have any questions at all, please do not hesitate to write to us using our contact form.

Add to wishlist

Description

Hofmann, Leopold (1738-1793)

Product Code: AE409
Description: Missa Sancti Aloysii (Badley D8)
Edited by: Allan Badley
Year of Publication: 2014
Instrumentation: SATB 2clno 2trbn timp 2vn va vc/b org conc
Binding: Score: Perfect / Parts: Unbound
Duration: 30 min(s)
ISBN: 978-1-927163-41-2
Option(s): Score (Hardcopy): $120.00 Score (PDF): $90.00 Performance material on hire
ISMN: 979-0-67451-002-8
Solo Instrument(s): SATB

Details

Mass D8 Missa Sancti Aloysii (Missa Sancti Gabrielis) appears to have been one of Hofmann’s more popular masses. Like most of Hofmann’s masses, D8 is a compact work that is clearly conceived with liturgical practicality in mind.

This edition is based principally on a copy of the work preserved (unusually in score) in the archive of the Gesellschaft der Musikfreunde in Wien with additional material – namely the timpani and ripieno viola, which are printed here in smaller type – taken from the Hofkapelle copy. Both of these copies agree closely with the parts from the St Peter’s archive which were presumably used by Hofmann himself. The non-autograph score is headed: ‘Missa in honore Gabrielis Del Sig. Leop. De Hoffmann M:D: / Ca: S: St: ”. The right hand margin carries an old catalogue number “Nro i6 / Litt P:” The designation of the work as being in honour of St Gabriel is interesting since virtually every other source names St Aloysius.

The layout of the score is idiosyncratic by modern standards with the organo at the top followed by the choir (designated Sopran, Alt, Tenor and Basso), violini, violone and clarini. Beginning on the last page of the score, contemporaneous with it and in the hand of the copyist, is an arrangement of the organ part for flute.

As is common in many scores of the period, the text underlay is entered into the top (soprano) part only. The exceptions to this are the beginnings of the ‘amen’ in the ‘Credo’ (which is in double counterpoint) and the loosely contrapuntal ‘Dona nobis’. The Hofkapelle copy is preserved as a set of performing parts: ‘No.ii / Missa in D / a / 4 Voci in pieno / 2 Violini / Oboe unis / 2 Tromboni / 2 Clarini, e Timpani / 2 Trombe / Viole / Violoncello Violone Fagotto. Organo Concto / M:D:C: / Del Sigl: Leopol: Hoffmann / Maestro di Capella di St. Stefano / Parti 40’.

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 reconstructed 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. The text underlay is for the most part unproblematic but in the two sections referred to above the editor has crosschecked the underlay with the Hofkapelle and St Peter’s copies.

Allan Badley

Score Preview (best viewed in full screen mode)