Heinrich Hofmann

Soundbite 1st Movt

Soundbite 2nd Movt

Soundbite 3rd Movt

Soundbite 4th Movt

Serenade in D Major, Op.65

For Flute Two Violins, Viola, Cello and Bass or

2 Violins, 2 Violas & 2 Cellos or Cello & Bass

“Heinrich Hofmann’s Serenade for flute, two violins, viola, violoncello and bass appeared in 1883. One could say, judging mainly from the tonal richness and the trouble he takes to create very beautiful melodies that he had a preference to write, what might in the best sense, be called “salon music.” This has led some highbrows to “pick up their noses” at this beautiful work, but most will want to perform a work which is appealing and grateful to play. The first movement, Allegro con moto, begins with a broad melody in the cello which is then taken up by the first violin and the others. A teasing trio episode leads to a very lyrical theme. After a development, there is a short cadenza for the solo flute. The main theme of the second movement, Andante tranquillo, is somewhat on the serious side. The entire movement is not only charming but wonderfully scored for all of the instruments. Next comes a piquant Allegro vivace which is rather like a Mendelssohnian scherzo, especially in the coda which reminds one of the Midsummer’s Night Dream. In the fiery finale, Allegro vivo, Hofmann instructs the players to play it in the 'Hungarian manner'. The music both rhythmically and tonally is clearly Hungarian."—–The famous critic and scholar Wilhelm Altmann writing in his Chamber Music Handbook.


Heinrich Hofmann (1842-1902) was born in Berlin and studied there at the Neue Akademie der Tonkunst with the Theodor Kullak and Siegfried Dehn. At first, he embarked upon a career as a pianist and teacher. However, by the late 1860's, his operas and his choral and orchestral works began to achieve great success and for the next two decades, he was one of the most often performed composers in Germany and much of Europe. Success came at a price. Although hailed by some critics, such as Hermann Mendel, as a of real talent and one of the most important emerging composers of his time, many others, jealous of his rocketing success or determined to protect their favorites (such as Eduard Hanslick was of Brahms), derided him for his "fashionable eclecticism". While his works broke no new ground, on the other hand, they were masterfully conceived, beautiful and well-executed. This is especially true of his chamber music. Besides this Serenade, he has Piano Quartet,  a Piano Trio, a String Sextet, and an Octet to his credit.


The Op.65 Serenade was originally published by Breitkopf and Härtel in 1883 and then a second time in 1900. It was originally scored for Flute, 2 Violins, Viola, Violoncello and Bass. Shortly after the release of the second edition, it appears that the publisher asked Hoffman to make an arrangement for String Sextet. Unfortunately, he died before it could be done. Because of the high quality of the music, we decided to make it available for String Sextet in two versions: 2 Violins, 2 Violas, Cello and Bass or a Standard String Sextet of 2 Violins, 2 Violas and 2 Cellos. The flute part can be played by the violin without difficulty and the bass part can be played by the cello without transposition. However, to have left it like that would have created a work for 3 violins, viola, cello and bass (or 2 cellos), a combination which would ensure that the work would almost never get played. So, we have created a second viola part to replace the second violin part when the work is to be performed as a string sextet.


(A) Flute 2 Violins, Viola, Cello & Bass-Parts


(B) Flute 2 Violins, Viola, Cello & Bass-Parts & Score


(C) 2 Violins, 2 Violas, 2 Cellos or Cello & Bass-Parts


(D) 2 Violins, 2 Violas, 2 Cellos or Cello & Bass-Parts & Score 


(E) All Seven Parts $46.95
(F) All Seven Parts & Score $56.95




Contact Us



Place Order

What's New