Along with the Stamitz concerto, Hoffmeister's Viola Concerto is the most important audition piece for viola players. Yet, it has been handed down in a complicated source tradition, surviving in a single contemporarymanuscript covered with many layers of markings. This piano reduction r econstructs, for the first time, the earliest textual layer in this source, thereby coming as close as possible to Hoffmeister's actual intentions. The reconstructed original is accompanied by a detailed critical commentary. Fingering and bowing marks have been added by no less a musician than Kim Kashkashian!
