In many respects, Concerto D1 is the most puzzling of Leopold Hofmann’s keyboard concertos. Like Concerto C4 [AE562], which alone employs a remote tonality in its second movement, D1 is the only known authentic concerto by Hofmann to abandon the fussy eight-in-a-bar notation that is a hallmark of his first-movement style in favour of the brisk alla breve style that he occasionally employs in the finales of his instrumental concertos.

Why he chose not to pursue this innovation is unclear (unle...