The four works on this recording are at once typical of Hofmann's flute concertos and at the same time strongly individual in character. D3 was advertised for sale in the Breitkopf Catalogue in 1767; it was probably composed at least a year or two earlier. Although only two copies of the work survive -one in Regensburg and one Prague - it's appearance in both the Breitkopf Catalogue and the Ringmacher Catalogue (Berlin, 1773) suggests that it circulated fairly widely during the I8th century. The work's most unusual feature is the Tempo di Menuet finale otherwise unknown in Hofmann's flute concertos. A significant number of Hofmann's works survive in a single source including many of the flute concertos. G3 presents a unique problem since only the autograph score is extant and there is no evidence from contemporary thematic catalogues that any other copies ever existed. What is even more remarkable, however, is that in the archive in which the autograph is preserved; the Furst Thurn und Taxis'sche Hofbibliothek in Regensburg - there are no performing parts- While it is possible that these did exist at some time and have been lost it must remain a possibility, however remote, that the work was never performed.
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The four works on this recording are at once typical of Hofmann's flute concertos and at the same time strongly individual in character. D3 was advertised for sale in the Breitkopf Catalogue in 1767; it was probably composed at least a year or two earlier. Although only two copies of the work survive -one in Regensburg and one Prague - it's appearance in both the Breitkopf Catalogue and the Ringmacher Catalogue (Berlin, 1773) suggests that it circulated fairly widely during the I8th century. The work's most unusual feature is the Tempo di Menuet finale otherwise unknown in Hofmann's flute concertos. A significant number of Hofmann's works survive in a single source including many of the flute concertos. G3 presents a unique problem since only the autograph score is extant and there is no evidence from contemporary thematic catalogues that any other copies ever existed. What is even more remarkable, however, is that in the archive in which the autograph is preserved; the Furst Thurn und Taxis'sche Hofbibliothek in Regensburg - there are no performing parts- While it is possible that these did exist at some time and have been lost it must remain a possibility, however remote, that the work was never performed.
