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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: 10/28/11Follow Ups:
In college, when I was just beginning to listen to classical music, I became pretty familiar with Chopin. When I found an historic Joseph Hoffmann LP, it was the first time I became aware of the enormous differences that were possible with different performances of the same works. It was a true ear-opener, and I still have a very warm spot in my heart for Herr Hoffmann. Thanks for this info, Brian.
-Bob
But he did say that he played with an idiosyncratic freedom that was at home in the previous century.
My guess was that my teacher would have been in his 20s when he heard him. Or a teenager.
JM
I think I mentioned that I'm reading Earl Wild's memoirs ("A Walk on the Wild Side") right now, and he mentions that he was able to attend many Hofmann recitals during the 1920's and 30's. Here's just a brief excerpt:
"Hofmann's concert performances, as happens with a number of concert pianists, wavered from appearance to appearance. They ranged from being absolutely wonderful to somewhat matter of fact. Unfortunately, in Hofmann's case, his personal problems always seemed to be revealed in his playing, which could be madly impulsive at times. Sometimes he pulled it off and sometimes he didn't. Because of his complex love life and the many difficulties it caused him, Hofmann eventually developed a terrible drinking problem which ruined his last years. I was lucky to attend Hofmann's concerts when he was performing at his best. I was always impressed by the clarity and the crystalline quality of the tone he achieved at the piano."
During my research for my master's project (Anton Rubinstein's Fantaisie for solo piano), I also read Hofmann's book, "Piano Playing with Piano Questions Answered", and I'll never forget his story about lessons with the great Rubinstein (that would be Anton, not Arthur!). Rubinstein never let Hofmann play the same repertoire from lesson to lesson - which meant that Hofmann had to learn a whole of lot of works in a short amount of time. One day, Hofmann got his courage up and asked Rubinstein, "Master, why don't you allow me to play the same piece for two lessons in a row?" Rubinstein answered, "Because I might forget what I told you in the previous lesson and tell you the complete opposite in the next lesson!" ;-)
My first Hofmann! Got sold to me at the old Record Hunter in Manhattan, for the princely (in 1964) sum of $7.50, but the guy said there was none better. If there is, I haven't found it.
How's the Rubinstein Beethoven Third?
P.A.
Yes, the referenced M&A disc also contains a 1943 live Beethoven PC 3 with Rubinstein and the NYPO under Ormandy.
I was not pleased with what I heard there in the first two thirds of the Allegro. Both soloist and orchestra go separate ways, or rather stay out of each others' way, to make an oddly disjointed overall impression. I began to yearn for the coherence and discipline of Rubinstein/Leinsdorf, long my favorite in this work.
But then comes the first movement cadenza (Beethoven's), and things change. Rubinstein attacks it fearlessly, shifting mood from Chopinian salon back to Beethoven in his modest Viennese digs. whaling away like a half-deaf lion at the keyboard. At solo's end the orchestra comes in softly and sweetly, only to give the following final chords a huge whallop with plenty of help from the piano.
The slow movement is played with tenderness and great love, while the finale rocks, with Ormandy showing signs of the "grand orchestra" approach he would take in Philadelphia's later years, but at a much faster tempo and with greater rhythmic freedom and emphasis.
The crowd, once again, goes wild.
Aside from superhuman, effortless-seeming technique, he was highly sensitive and musical. I look forward to your future reports.
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