十八世紀後半維也納的音樂環境不僅有貴族們的支持，也有越來越多的中產階級加入愛樂贊助者的行列，大型公開音樂會也順應著愛樂人口的增加而經常地舉辦，因應音樂會的觀眾喜好，展現演奏家卓越技巧的獨奏協奏曲成為音樂會中不可或缺的重要曲目，順應這樣的狀況，霍夫曼為大提琴創作為數不少的協奏曲，本研究主要探討霍夫曼大提琴協奏曲的樂曲內容、創作原因與公開音樂會發展之間的關係。
研究內容除緒論與結論包含三章，第一章探討霍夫曼的生平、創作情形以及樂曲的特色；第二章著重在十八世紀後半維也納的音樂環境與大型公開音樂會的發展以及古典時期大提琴的發展與協奏曲的創作情形；第三章針對霍夫曼現存七首大提琴協奏曲的各個樂章作逐一且詳細的討論。霍夫曼的大提琴協奏曲雖然還未使用雙呈示部奏鳴曲式，但他相當重視樂章各樂段間的統一性，並開發大提琴的高音域以及華麗的技巧，從他的創作中不僅呈現出當時公開音樂會對於獨奏協奏曲的看重與需求，更為後來的大提琴協奏曲作曲家們奠定良好的根基。

The cello concertos of Leopold Hofmann occupied an important position in Vienna between the 1760s-1780s. The total output of seven cello concertos that could be identified of his works were written for the Viennese public concerts. The audience often enjoyed listening to highly virtuosic and the newest works in the public concerts at the time. The purpose of the study will be the cello concertos of Leopold Hofmann and its relations to the Viennese public concerts. This research focuses on the detailed examination of the traits of the seven cello concertos.
The thesis consists of three chapters, including the introduction and conclusion. The chapter one discusses Leopold Hofmann’s life, his works and his style of composition. He was a popular composer during his time and his fame was known both in Vienna and other big cities. Chapter two focuses on the background of the Vienna in the second half of the eighteenth century, the emergence of the public concerts and the development of the cello concertos during the middle and late eighteenth century. Because of the development of the public concerts in Vienna during the second half of the eighteenth century, there were many opportunities for these concertos to be performed. Chapter three concentrates on the contents of Hofmann’s cello concertos. His concertos show the mature concerto form of the Pre-classic period.

緒論…………………………………………………………5
第一章 霍夫曼的音樂生涯…………………………14
第一節 霍夫曼的生平……………………………………14
第二節 霍夫曼的音樂作品………………………………20
第三節 霍夫曼的創作特色………………………………33
第二章 十八世紀後半維也納的公開音樂會……………39
第一節 十八世紀後半的維也納音樂環境………………39
第二節 維也納公開音樂會的形成………………………49
第三節 公開音樂會的組成、曲目與演奏者……………59
第四節 十八世紀中期大提琴協奏曲的創作情形……… 67
第三章 霍夫曼七首大提琴協奏曲………………………75
第一節 霍夫曼大提琴協奏曲的第一樂章………………77
第二節 霍夫曼大提琴協奏曲的第二樂章………………99
第三節 霍夫曼大提琴協奏曲的第三樂章……………110
結論………………………………………………………121
附錄一……………………………………………………128
附錄二……………………………………………………128
附錄三……………………………………………………129
附錄四……………………………………………………129
參考書目…………………………………………………130

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