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Josef Hofmann

Hofmann (1876-1957) has to be the most enigmatic, puzzling, and unjustly forgotten performer in modern music history. His recorded legacy is fascinating, and I recently ran across some of it again, after a hiatus of many years.

In his day, Hofmann was almost universally acknowleged as the greatest pianist ever, alive or dead. Rachmaninoff attempted a marathon 15 hr daily practice regimen trying to duplicate the Polish virtuoso's fabled technique, and failed. Most of Hofmann's best work was captured on acoustic discs cut between 1888 (on Edison's lap!) and 1923, but there are great electricals (including the HMV "test pressings" of 1935) that reproduce his art in decent sound.

So what happened? First and foremost, steadily worsening alcoholism eroded both his technique and artistry. By the time of his farewell recital in 1946, Hofmann's play was an embarrassment. In addition, many rivals spread the word that while Hofmann indeed was blessed with perfect technique, his musicianship was suspect, the musical equivalent of "good field, no hit". The man was also interested in things other than playing and composing music, working as an inventor who held many high tech patents. He was irascible and, when drunk, extremely unpleasant.

A Music and Arts disc of live NYPO wartime performances gives us Hofmann in decline, playing the (musically) most difficult concerto of them all, the Beethoven G major, under the direction of Dimitri Mitropoulos, for a most unlikely A&R pairing. I didn't expect much.

Instead, I was floored. Hofmann's rendition here is so self-effacing (most dynamics under mezzo-forte, with plenty of very soft playing), fluid, and effortless one's hardly aware that the music is not being displayed, but uniquely revealed. The slow movement opens with a keyboard pianissimo you won't believe, and a mood of deep introspection is maintained throughout. The finale's a playful romp, and its coda the fastest on record. The crowd, as they say in baseball, goes wild.

Hofmann makes some small edits to the score (like leaving out the solo's final note before the finale, heightening tension), not unusual for an artist of his time. Cadenzas are by Reinike and suit Hofmann's patrician style perfectly. Mitropoulos gives an amazing reading of the orchestral part which dovetails seamlessly and powerfully with his pianist. I don't think even Schnabel surpasses here, and none of his versions have an orchestra as fine as the 1943 NYPO.

I have ordered CD's of the "1920-23 Brunswicks" and the "1937 Golden Jubilee Recital" and will report on them another time.



Edits: 10/28/11

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Topic - Josef Hofmann - Brian Cheney 11:44:59 10/28/11 (6)

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