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Concerto for Flute and Orchestra in D Major (Badley D4)
- Instrumentation: Piano Reduction - Flute and Piano
- Material: Piano Reduction - Score and solo part
- Miscellaneous: [ Konzert für Flöte und Orchester D-Dur / Concerto pour flûte et orchestre en ré majeur ]
Artaria Editions Limited
- Item #:
- Tone: Ré Majeur / D Major / D-Dur
- Duration: 18 min
- Number of pages: IV-22pp+12pp
- Publication date: 2001
- Co-authors: Edited by Allan Badley / Piano reduction by Ronald Dellow
The present work survives in a single copy in the possession of the Fürst Thurn und Taxis Hofbibliothek in Regensburg (Hofmann 13). Like the Flute Concertos D2, D5, and G3, all of which survive in a single copy in this source, D4 was not advertised in the Breitkopf Catalogue. Although any speculation concerning the origins of these works is risky, the possibility exists that all four concertos were acquired by the Thurn und Taxis court directly from the composer; this would also help explain the otherwise puzzling presence of the autograph score of G3 in this collection. The parts are enclosed in a wrapper which reads: `Concerto / a / Flauto traverso / Violino Primo / Violino Secondo / Corno Primo / Corno Secondo / Alto Viola / e / Basso / del Sig: Leopoldo Hoffmann`. A basso ripieno part - i.e. a part with the tutti sections only written out - is included in the set (as is also the case with G1 and G4 in this collection, indisputable evidence that the orchestral forces were frequently reduced in the solo sections; the soloist was probably accompanied by either a single player or one desk per part. 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 Regensburg source. As is usual in Hofmann's concertos, there are no dynamic markings in the solo sections; these are left to the discretion and good taste of the performer. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the source, 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 manuscript is inconsistent 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.
II. Andante ma non molto
III. Allegro assai
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