Hofmann, Leopold: Missa Sancti Aloysii (Badley D8) [Vocal Score] (AE409/VS)

Hofmann, Leopold (1738-1793)

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