Josef Hofmann

Editorial Reviews
Amazon.com
Before he became the brilliant and charismatic virtuoso to whom Rachmaninov dedicated his Third Piano Concerto, Joseph Hofmann was a child prodigy. He was also the first pianist ever to make a record: in 1888, at age 12, he sat on Thomas Edison's lap and played into a prototype of the cylinder machine. That was a year after his New York debut at the old Metropolitan Opera house had caused general amazement among the public and the critics, but had also brought the wrath of the Society for the Prevention of Cruelty to Children upon the heads of his promoters. A wealthy New Yorker put up $50,000 (the equivalent of at least half a million today) to see that young Hofmann was educated rather than exploited; he was sent off to study with Anton Rubinstein in Dresden, and made his adult debut in the U.S. at the acceptable age of 22. By then, he was a finished pianist, capable of producing cascades of notes with his small hands (Steinway built a grand with slightly narrower keys just for him) as well as extraordinary effects of color and delicacy. His virtuosity was all the more hair-raising for its elegance and seeming effortlessness.

One gets a good idea of all that from this sampler of Romantic miniatures and encore pieces recorded between 1903 and 1923 (mainly 1916-23), in rather primitive but nonetheless revealing sound. Hofmann's unerring sense of line and pace are much in evidence, but so are his pronounced rubato and, in certain selections (like Rubinstein's Valse-caprice in E flat), more than a few slips and wrong notes--the price one paid for being engaged with the music and taking chances. --Ted Libbey

Tracks:

D. 733: Marche militaire No. 1 In D
Erlkong
Lieder ohne Worte, Op. 19: 'Hunting Song'
Lieder ohne Worte, Op. 62: 'Spring Song'
Polonaise in A, Op. 40 No. 1 'Military'
Valse - Caprice In E flat
Fantasiestucke, Op. 12 No. 3: Warum?
Liebestraum No. 3 In A flat
Etude No. 3 In C Minor, Op. 120
The Sanctuary
Lyric Pieces, Op. 43: Butterfly
Lieder ohne Worte, Op. 67: The Bee's Wedding
Capriccio espagnole, Op. 37 (Abridged)
Minuet celebre In G, Op. 14 No. 1
'Annees de pelerinage': Tarantella
Waltz In E Minor, Op. Posth.
Waltz In A Flat, Op. 34 No. 1 'Valse brillante'
Rondo Capriccioso, Op. 14 (Abridged)
La jongleuse, Op. 52 No. 4

Tracks:

Fantasie - Impromptu In C Sharp Minor, Op. 66
6 Chants polonais de F. Chopin: The Maiden's Wish
Berceuse In D Flat, Op. 57
Valse gracile
Birds At Dawn, Op. 20 No. 2
Hungarian Rhapsody No. 2 In C Sharp Minor
Etude de concert No. 1 : Waldesrauschen
Paride ed Elena: Gavotte In A
Polonaise No. 3 In A Op. 40 No. 1 'Military'
Pastorale e capriccio
Mignonettes: Nocturne
Waltz In C Sharp Minor, Op. 64 No. 2
Nocturne In F Sharp, Op. 15 No. 2
Prelude In C Sharp Minor, Op. 3 No. 2
Prelude In G Minor, Op. 23 No. 5
Melody In F, Op. 3 No. 1
Scherzo In B Minor, Op. 20 (Abridged)
Die Walkure: Magic Fire Music
6 Chants polonais de F. Chopin: My Darling
'Die Ruinen von Athen': Turkish March

Amazon.com

Before he became the brilliant and charismatic virtuoso to whom Rachmaninov dedicated his Third Piano Concerto, Joseph Hofmann was a child prodigy. He was also the first pianist ever to make a record: in 1888, at age 12, he sat on Thomas Edison's lap and played into a prototype of the cylinder machine. That was a year after his New York debut at the old Metropolitan Opera house had caused general amazement among the public and the critics, but had also brought the wrath of the Society for the Prevention of Cruelty to Children upon the heads of his promoters. A wealthy New Yorker put up $50,000 (the equivalent of at least half a million today) to see that young Hofmann was educated rather than exploited; he was sent off to study with Anton Rubinstein in Dresden, and made his adult debut in the U.S. at the acceptable age of 22. By then, he was a finished pianist, capable of producing cascades of notes with his small hands (Steinway built a grand with slightly narrower keys just for him) as well as extraordinary effects of color and delicacy. His virtuosity was all the more hair-raising for its elegance and seeming effortlessness.

One gets a good idea of all that from this sampler of Romantic miniatures and encore pieces recorded between 1903 and 1923 (mainly 1916-23), in rather primitive but nonetheless revealing sound. Hofmann's unerring sense of line and pace are much in evidence, but so are his pronounced rubato and, in certain selections (like Rubinstein's Valse-caprice in E flat), more than a few slips and wrong notes--the price one paid for being engaged with the music and taking chances. --Ted Libbey

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series.
This Philips compilation draws from the earlier commercial recordings. It's a fine, economical introduction, but I would go for the Marstons. They are complete, the transfers are better, the notes superb, and the company is well worth supporting. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available.

Not to be missed.......2003-11-03

You'll never hear playing so clean, polished, and technically perfect...modern pianists seem almost clumsy by comparison. Especially his Liszt is to die for; as a matter of fact his Tarantella is possibly my all-time favorite recording of anything. The Maiden's Wish and La Jongleuse are splendid too. In fact, although these are some of my favorite recordings ever, it's hard to know what to say about them because they are simply so perfect in both technic and understanding that they leave you breathless.

As for the bad sound...folks get over it...as for me, I know I'm silly but I kind of like it...it gives me a thrill as I remember just how many years this recording is taking me back over.

Good for collectors, but not for samplers.......2002-09-23

For an introduction to Hofamann, this volume is not the best. They contain mostly his earliest recordings (1910 to 1920) and they make for difficult listening. VAI and Marston Records' volumes of remasterings of Hofmann's later playing has better audio and better linear notes.

Dynamo of the Piano.......2001-12-25

First of all, I would part company with those who comment on the "recording quality" of a particular record. Naturally the sound technology was not advanced in those days, so the artist had to make do. Any listener who knows something about the piano should be able to get beyond this.

This CD should be bought by any listener interested in the golden age of piano giants. Rachmaninoff, whose name should be familiar as both composer and pianist to any piano afficoniado, actually preferred Hofmann's playing, especially in passages requiring clear fingerwork, to his own. Indeed, the clarity and lightness of Hofmann's fingerwork is astounding. Of particular note on this album is Chopin's Berceuse, arguably the greatest recording ever made of this particular piece. I will limit myself to describing his performance of this piece, since I think this is most indicative of the beauty of Hofmann's piano sound. The thirds are lighter and better articulated than Friedman's or Cortot's performances of the same piece. His tempos in general are held, with the addition of cleverly placed rubato. Hofmann's style for passagework can be called the "jeu perle" style, representing a touch in between legato and staccato which gives the passage a certain precise, smooth sound. His pedalling also is immaculate. Actually, he does not use very much pedal at all. He only uses it at junctures when it is absolutely needed, not to cover up poor technique and creating a sloppy "wet" sound which seems to be the dilemma of many modern pianists. In his several different recordings of the piece, the only place I consistently hear him using pedal is in the grace note/rolled chord variation of the theme, where the right hand's sound and harmony dictate it.

In short, buy this CD to get a glimmer of old school piano playing at its finest.

An interesting listening study.......2000-11-06

I would actually give this CD a 3.5, but you can't give out halfs. While his playing and his songs are phenomenal, the quality of the CDs is terrible. One would think that Sony would have taken the time to clean these CDs. While I admit it would be difficult since the songs were recorded between 1903-33, they could have cleaned it up. Hofmann's playing is absolutely amazing. Speaking from a pianist's p.o.v, how can he move his fingers that quickly? This is a CD for the music lover and classical collector....

Average customer rating:

Kaleidoscope: Piano Encores

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Tangos | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Similar Items:

Cherkassky Plays Rameau, Beethoven, Mendelssohn, Chopin, Scriabin, Tchaikovsky, Liszt
Shura Cherkassky, Piano

ASIN: B000FIHMG2
Release Date: 2006-05-08

Tracks:

Wein, Weib Und Gesang
The Swan (Carnival Of The Animals)
Tambourin
Waltz-Poem Iv For Left Hand Alone
Moment Musical In F Minor, D. 870 No. 3
Tango, Op. 165 No. 2
Alt. Wien
Kaleidoscope, Op. 40 No. 4
Melody In F, Op. 3 No. 1
Nocturne In C Sharp Minor, Op. 19 No. 4
Waltz In D, Op. 42 No. 3
Autrefois, Op. 87
Capriccio Espagnole, Op. 37
Prelude In D Major, Op. 11 No. 5
Polka De W.R. (After Behr: Lachtauben)
Nocturne No. 15 In F Minor, Op 55 No. 1
Ballade No. 3 In A Flat, Op. 47

Average customer rating:

A pleasing variety of piano miniatures
Give the Man a Break
Where's Liberace when you need him?
Divine Madness And Other Fun
Divine Madness And Other Fun

Kaleidoscope

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Similar Items:

Nikolai Kapustin: Piano Music
Dukas: Piano Sonata; Decaux; Clairs de Lune
Godowsky: Sonata; Passacaglia
Godowsky: The Complete Studies on Chopin's Etudes
Alkan: Symphony for solo piano

ASIN: B00005QIT6
Release Date: 2001-11-13

Amazon.com

This may be the only recorded classical piano recital in which you're likely to burst into "From the halls of Montezuma to the shores of Tripoli," since the music of the Marine Corps' anthem stems from an Offenbach operetta duet, performed here in Hamelin's edition of Jakob Gimpel's piano arrangement. That's an indication of the fun you'll hear among the 20 piano miniatures in this recital. There's also a truckload of superior salon music: tuneful, often sentimental pieces favored by 19th century pianists and audiences. And there are plenty of pianistic fireworks, too, as in Hamelin's gloss on a Paganini-Liszt étude and Josef Hofman's dazzling Kaleidoskop, which gives the disc its title. Throughout, Hamelin plays with his usual virtuosity, demonstrating mastery of various styles, from waltzes to technical exercises and even jazz, as in Kapustin's Toccatina. Several works on the disc are by composers even keyboard buffs will not have heard of, but everything clicks. First-rate sonics, too. Piano fanciers won't want to miss this one. --Dan Davis

Customer Reviews:

A pleasing variety of piano miniatures.......2003-12-11

This CD is another must-have for Marc-Andre Hamelin fans. The rarities on this album make it a true treasure, with all its diversity and freshness. Hamelin's own "Campanella" etude is an interesting addition to the several arrangements already set forth by Liszt. Jakob Gimpel's "Song of the Soldiers at Sea" is a fantastic virtuosic piece that would serve well as a final encore (and Mr. Hamelin has done other pianists a great service in bringing this piece back to life and to the printing press, available through redheiferpress.com). Blumenfeld's etude for the left hand is poetically played, showing how a piece for a single hand can have great musical value and not just be an 'exercise' for the hand. Kapustin's Toccatina is a delightful jazzy piece, in the spirit of some of Vince Guaraldi's "Peanuts" music, with a catchy beat that will have the listener dancing with glee.
These are but four pieces out of the 20 Mr. Hamelin has chosen for this recital. All have their musical merits and each would add spark and a fascinating variety to the piano recital, which is too often composed of recycled repertoire.

Give the Man a Break.......2003-06-05

I read many of the reviews of "Kaleidescope" and have come to the conclusion that some of the people who listened to this disc simply did NOT understand it. Marc-Andre Hamelin is not trying to offer you the "real classics." The standard piano literature does not constitute a large part of ANY of his discs. I believe that this recording is simply UNPARRALLED. It presents selection of salon music, archaic virtuoso pieces, as well as some original "transcriptions." I believe the his musicality transcends the average virtuosos interpretation of music. Instead of "packing a punch" by accentuating individual aspects of a line, or a phrase, Hamelin is able to make all of these, albeit "poor compositions", come to life by being cognizant and function as a whole. Furthermore, there are people who may attack a transcription as being unorthodox. No, this is simply a presentation of a virtuoso's "take" or feelings concerning a piece. For we do not EVER see things as they truly are, but rather as WE are. You will NOT find Liszt "La Campanella" on "Kaleidescope". No, instead, you will see Hamelin in every turn of phrase. I think this is VASTLY more valuable. It allows us to see Hamelin. (Remember, Liszt transcribed the orginal CONCERTO!) Enjoy this CD--its truly wonderful.

Where's Liberace when you need him?.......2002-05-18

What's the deal with Hamelin? I don't know.
As fast as a player piano and just about as musical.
The works don't have any substance either.

Divine Madness And Other Fun.......2002-04-20

This recording should come with a warning not to listen to more than few tracks at a time! Even pianophiles will be spoilt on this sampler of bon bons.

Hamelin teases us with another addition to his incomplete set of virtuoso etudes. The third etude, after Paganini-Liszt, is absolutely uproarious. Hamelin also gives Jakob Gimpel's (who?) Offenbach transcription a performance worthy of the pre-retirement Horowitz. This alone is worth the price of admission.

There is a rendition of the Blumenfield left-hand etude that is on par if not better than any of Simon Barere's famous recordings. And, since Shura is no longer with us it is nice to hear Josef Hofmann's Kaleidoskop once again in capable hands. Hofmann's Nocturne receives a resurrection as well. There is a ravishingly beautiful piece which Hamelin has adapted from Glazunov's The Seasons. But, the piece I could not stop playing over and over was the infectiously rythmic Kasputin Toccatina--true virtuoso jazz!

Leopold Godowsky accused Theodore Leschetizky of setting the art of piano playing back a hundred years. Hamelin has set back most of today's pianists at least that much. The only thing missing here is the kitchen sink; Hamelin has thrown everything else in. The only thing missing here is Rubinstein's Staccato Etude and the Melody in F. Not exactly a balanced recital, but marvelous fun. If you love piano, you have to have this! It's better than the entire Kissin discography combined.

Divine Madness And Other Fun.......2002-04-20

This recording should come with a warning not to listen to more than few tracks at a time! Even pianophiles will be spoilt on this sampler of bon bons.

Tracks:

Impressions No.3: The Sanctuary - Josef Hofmann
Fant Ste, Op.52, No.4: La Jongleuse - Josef Hofmann
Morceau Caracteristique, Op.36, No.6: Etincelles - Josef Hofmann
Viennese Waltzes On Themes From Gartner, No.1 - Ignaz Friedman
Estampes, Op.22, No.2 & No.4 - Ignaz Friedman
Viennese Waltzes On Themes From Gartner, No.2 - Ignaz Friedman
Minuet, Op.14, No.1 - Ignaz Jan Paderewski
Caprice, Op.14, No.3 - Ignaz Jan Paderewski
Chants Du Voyager, Op.8, No.3: Melodie - Ignaz Jan Paderewski
Cracovienne Fant, Op.14, No.6 - Ignaz Jan Paderewski
Nocturne, Op.16, No.4 - Ignaz Jan Paderewski
Legende, Op.16, No.1 - Ignaz Jan Paderewski
Viennese Waltzes On Themes From Gartner, No.3 - Ignaz Friedman
Elle Danse, Op.10, No.5 - Ignaz Friedman
Serenata, Op.15, No.1 - Ignaz Friedman
Viennese Waltzes On Themes From Gartner, No.4 - Ignaz Friedman
Kaleidoscope, Op.40, No.4 - Josef Hofmann
Guitarra, Op.45, No.2 - Josef Hofmann
Caprice Espagnol, Op.37 - Josef Hofmann

Customer Reviews:

Oh that these could be recorded live!!.......2004-01-17

The only national group that threatened the Russians supremacy in piano viruosity was the Polish one. For a nation that did not even exist during the lives of many of some of these great men, this is an achievement of the first order. This recording is reminiscent of the preserved Second and Third Concertos by Sergei Rachmaninoff. The genius is immediately evident but nothing can match the quality and tone of a modern studio recording.

What is remarkable about this CD and its artists - Friedman, Paderewski, Moszkowski and the unforgettable Josef Hoffman - is that they are also the composers of the compositions presented here. These are not of the Chopin/Scriabin/Godowsky realm but they are terrific show pieces for the display of an almost unworldly technique. Moszkowski's Etincelles was long a favorite of Vladimir Horowitz and the Minuet by Paderewski has another popular and is occasionaly heard in the concert hall.

A Historical Document Not to be Missed.......2000-06-11

This CD contains the piano roll performances of Josef Hofmann, Ignaz Friedman and Ignace Jan Paderewski. At the time of the recording, they were in their prime, these performances giving some indication of how they sounded at the height of their powers. On the CD, you hear some of these Golden Age pianists' war horses, Hofmann's jongleuse, Friedman's Viennese Waltzes, and of course, Paderewski's Minuet. Buy this CD to hear these amazing pianists play as you never could before. The sound quality is good, you might never be able to tell that it is indeed a piano roll performance.

Average customer rating:

Concertos ala 1786 Style Haydn

Haydn: Flute Concerto; Oboe Concerto

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000262H
Release Date: 1990-10-25

Tracks:

Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:1 (Orig: For 'Lira organizzata,' No. 1 - C Major: l - Allegro con spirito
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:1 (Orig: For 'Lira organizzata,' No. 1 - C Major: ll - Andante
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:1 (Orig: For 'Lira organizzata,' No. 1 - C Major: lll - Finale: Allegro con brio
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:2 (Orig: For 'Lira organizzata,' No. 2 - G Major: l - Vivace assai
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:2 (Orig: For 'Lira organizzata,' No. 2 - G Major: ll - Adagio ma non troppo
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:2 (Orig: For 'Lira organizzata,' No. 2 - G Major: lll - Rondo: Presto
Concerto For Flute & Strings, H. Vllf:D1 (D Major): l - Allegro moderato
Concerto For Flute & Strings, H. Vllf:D1 (D Major): ll - Adagio
Concerto For Flute & Strings, H. Vllf:D1 (D Major): lll - Allegro molto
Concerto For Flute, Oboe, Strings & 2 Horns, H. VIIf:5 (F Major): l - (Allegro)
Concerto For Flute, Oboe, Strings & 2 Horns, H. VIIf:5 (F Major): ll - Andante
Concerto For Flute, Oboe, Strings & 2 Horns, H. VIIf:5 (F Major): lll - Finale: Vivace

Tracks:

Concerto For Oboe & Orchestra, H. Vllg:C1 (C Major): l - Allegro spiritoso
Concerto For Oboe & Orchestra, H. Vllg:C1 (C Major): ll - Andante
Concerto For Oboe & Orchestra, H. Vllg:C1 (C Major): lll - Rondo: Allegretto
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:3 (Orig. for 'Lira organizzata,' No. 3, G Major): l - Allegro con spirito
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:3 (Orig. for 'Lira organizzata,' No. 3, G Major): ll - Romance: Allegretto
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:3 (Orig. for 'Lira organizzata,' No. 3, G Major): lll - Finale: Tempo di Menuetto
l - Allegro
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:4 ( Orig. for 'Lira organizzata,' No. 4, F Major): ll - Andante
Concerto For Flute, Oboe, Strings & 2 Horns, H. Vllh:4 ( Orig. for 'Lira organizzata,' No. 4, F Major): lll - Rondo-Finale: Presto

Customer Reviews:

Concertos ala 1786 Style Haydn.......2004-02-10

This is wonderful two disc set with seven concerti authentically known to be Haydn's plus two more that are suspect. These suspect are written for lira organizzata, hurdy-gurdy, but here utilizing oboe, flute and strings.

Tracks:

Valse In A Flat, Op. 34, No. 1
Valse C Sharp Minor, Op. 64, No. 2
Valse In E Minor, Op. Post
Polonaise In A Minor, Op. 40, No. 1
Impromptu No. 1, A Flat, Op. 29
Fantasie-Impromptu, C Sharp Minor, Op. 66
Berceuse In D Flat, Op. 57
Chant Polonaise, 'The Maiden's Wish'
Liebestraum No. 3 In A Flat
Conccert Etude No. 1, 'Waldesrauschen'
Venezia E Napoli - 'Tarantella' (Abridged)
Marche Militaire
Der Erlkonig
Gavotte
'Moonlight Sonata In C Sharp, Op. 27 No. 2 First Movement
Fantasiestucke, Op. 12, No. 3 'Warum?'
Papillon, Op. 43, No. 1
Spinning Song, Op. 67, No. 14
Rondo Capriccioso, Op. 14 (Abridged)
Spring Song, Op. 62, No. 6
Hunting Song, Op. 19, No. 3
La Jongleuse

Tracks:

Caprice Espagnole, Op. 37 (Abridged)
Minuet In G
Valse-Caprice
Miniatures, Book. 9 No. 7, 'El Dachtarawan'
The Sanctuary
Prelude In C Sharp Minor, Op. 3, No. 2
Prelude In G Minor, Op. 23, No. 5
Valse Gracile
Birds At Dawn, Op. 20, No. 2
Third Etude In C Minor, Op. 120
Polonaise In A Major, Op. 40, No. 1
Hunting Song, Op. 19, No. 3
Spring Song, Op. 62, No. 6
Marche Militaire
Der Erlkonig
Nocturne In E Flat, Op. 9, No. 1
Valse In E Minor, Op. Post.
Papillon, Op. 43, No. 1
Spinning Song, Op. 67, No. 4
Prelude In C Sharp Minor, Op. 3, No. 2

Amazon.com

Volume 3 gathers Hofmann's complete acoustic Columbia 78s, including seven previously unissued sides. While Hofmann allowed a lot of leeway in live performance, he took recording seriously, both from an artistic and technical standpoint. The myriad subtleties of touch, pedaling, and articulation in Hofmann's playing come through loud and clear in these vintage 1912-1918 recordings. Each selection reveals the pianist's singing tone, extremely even fingerwork, aristocratic poise, and taste. There's a sense of purpose and proportion to the playing that belies the notion that all Romantic pianists took insane liberties. --Jed Distler

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

Josef Hofmann: Wonderful performances, lots of surface noise.......2000-03-15

For Hofmann lovers and devoted students of piano performance, this collection is priceless! For others, the surface noise will be a serious drawback. My assumption is that anyone interested in Hofmann will start by getting Volumes 1 & 2 -- the Chopin Concertos and the 1937 Golden Jubilee Recital. Beyond that, in choosing among Volumes 3 through 6, Volume 3 offers a wide range of Hofmann's repertoire in shorter pieces -- 42 tracks on two CD's. These are Josef Hofmann in his prime and the performances are marvelous. Unfortunately, they were recorded in 1912-18 (with six tracks from way back in 1903!) and the surface noise is pretty severe. Listening to them is an effort, but the effort is well worth while!

Average customer rating:

Great historical testament to an incredible pianist
Which Hofmann?
Josef Hofmann -- a Treat
Classical, unsentimental Chopin

The Chopin Concertos

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B000003LID
Release Date: 1994-10-10

Tracks:

Piano Concerto No.1, E Minor, Op.11: Allegro Maestoso
Piano Concerto No.1, E Minor, Op.11: Romance
Piano Concerto No.1, E Minor, Op.11: Rondo - Vivace
Piano Concerto No.2, F Minor, Op.21: Maestoso
Piano Concerto No.2, F Minor, Op.21: Larghetto
Piano Concerto No.2, F Minor, Op.21: Allegro Vivace
Interview with Josef Hofmann
Concerto No.1 - excerpt from Allegro

Amazon.com

Josef Hoffman was a pianist of transcendent technique, rhythmic acuity and precise articulation in even the fastest passages. He didn't record much, but these concert recordings from 1936 and 1938 crackle with the palpable tension of a live performance, inspiring him to communicative heights. The uncredited accompanists are reliably said to be John Barbirolli and the New York Philharmonic. Hofmann's playing is suffused with color and inner detail, and the works are as compelling as any recorded since. Bonuses are a brief excerpt from a London performance of the Concerto No. 1 and a hokey radio interview with the pianist. This is Volume One of a Hofmann series that now runs to five volumes on VAI and Marston Records. --Dan Davis

Customer Reviews:

Great historical testament to an incredible pianist.......2005-03-10

Josef Hofmann's piano technique is so effortless that it really needs to be heard to be believed. This CD is a historical recording and a great testament to the musician. The sound was much better than I had anticipated. The interview, while not adding much to the value, was still very interesting to hear. The final short selection, which is a snippet from the 1st concerto from a BBC shortwave broadcast, has absolutely terrible sound but Hofmann's brilliant playing is even more evident than in the full concertos.
A must buy for all Hofmann fans and lovers of classical piano.

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

Josef Hofmann -- a Treat.......2000-02-28

Josef Hofmann is considered by many the supreme pianist of the century, especially in Chopin, but he left very few recordings. This CD (Vol 1) and the Golden Jubilee Recital (Vol 2) are the best examples of his art. Expect piano playing that is stunning, even captured with 1930's sound. Tempos are fast -- #1 goes by in 34 minutes (compared to Rubinstein's 40 minutes or Zimerman's 46 minutes). If you've never heard Hofmann, you have a treat in store for you. If you have already heard Hofmann, then you don't need this review!

Classical, unsentimental Chopin.......1999-05-18

Josef Hofmann's recording of Chopin concertos are one of the most classically played version of these works. He plays without extra schmaltz or affectation, and his rubatos are well-controlled. It is so refreshing to hear these concertos played this way, instead of over-sentimentalized or bland manner so common these days. First concerto is especially beautifully played, with exquisite color and control (one may also tempted to say "masculine"). The second concerto is in every way comparable to Alfred Cortot's famous recording, although their approaches are very different (Cortot is dashingly Romantic, whereas Hofmann is more sober). The orchestra does its job competantly. The sound is improved astonishingly, compared to Dante transfer appeared several years ago. This is a treat for piano buffs!

Average customer rating:

Chopin Solo Piano, Vol 1

Chopin: Solo Piano, Vol. 1

Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

Ecossaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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ASIN: B00019EYNO
Release Date: 2004-04-20

Customer Reviews:

Chopin Solo Piano, Vol 1.......2007-01-04

I like this album! It opened new worlds for me, of great Chopin interpreters of long, long ago. I bought both volumes of the album by mistake, hoping to get a full album of Alexandre Brailovski's keyboard work. But I'm very pleased with the music. It should be noted I am not a musician of any kind and have a somewhat limited background in classical music. But a friend who is both a professional musician and quite knowledgeable in these matters says the recordings of these artists of bygone days are, well, priceless!!

Average customer rating:

Which Hofmann?
The Place to Start
Staggering Performances!

The Complete Josef Hofmann, Vol. 2

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

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Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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ASIN: B000003LIT
Release Date: 1994-09-01

Tracks:

Academic Festival Ov
Introductory remarks - Walter Damrosch
Pno Con No.4, d: Moderato assai-Allegro
Pno Con No.4, d: Andante
Pno Con No.4, d: Allegro
Ballade No.1, Op.23, g
Nocturne, Op.9 No.2, E flat
Waltz, Op.42, A flat
Andante Spianato e Grande Polonaise, Op.22, E flat

Tracks:

Nocturne, Op.15 No.2, F #
Waltz, Op.64 No.1, D flat 'Minute'
Etude, Op.25 No.9, G flat 'Butterfly'
Berceuse, Op.57, B flat
Chromaticon
Spinning Song, Op.67 No.4, C
Prld, Op.23 No.5, g
Turkish March
Caprice Espagnole, Op.37
Nocturne, Op.48 No.1, c
Mazurka, Op.33 No.3, C
Waltz, Op.34 No.1, A flat
Andante Spianato e Grande Polonaise, Op.22, E flat
Chromaticon - Curtis Institute Student Orch/Ignace Hilsberg

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

The Place to Start.......2000-02-28

If you're not familiar with Josef Hofmann, this album is the place to start. And, if you are already familiar with him, well -- this is still the place to start. Contains a recording of Hofmann's 50th Anniversary "Golden Jubilee" recital of 1937, one of the few recordings that catches Hofmann at his best and also contains a wide selection of his repertoire. Pianists should start with the Chopin Minute Waltz, which will astonish you with its velocity and sensitivity. Then go to the Chopin G Minor Ballade and Andante Spianato and Grande Polonaise, both considered the greatest performances of these works ever put on disk. Most observers consider Hofmann the greatest pianist of the century. Horowitz, for example, was in awe of Hofmann. This album is one of the few legacies left to us. See for yourself!

Staggering Performances!.......1999-05-18

These two CDs are real treasures for piano recording lovers! After somewhat business-like performance of Brahms' "Academic Overture", conducted by Fritz Reiner, the magic begins. Hofmann's recording of Rubinstein No.4 is beyond description. He makes this somewhat old-fashioned showpiece into a concerto comparable to Rachmaninoff concertos. The way he thunders his entrance of the first movement will make one jump up from his seat. At the same time, more lyrical sections are played with utmost delicacy and elegance. The middle movement is played with winsome simplicity. The last movement has almost terrifying power and intensity. The orchestra seems to have been inspired by Hofmann. The voltage of performance picks up considerably. The shorter works are played with plenty of personality and dashing elegance. Chopin's first ballade is demonic, with curiously cool lyrical sections. Polonaise is dazzlingly colorful. His own "Chromaticon" is an interesting piece. It sounds like a bit like Prokofiev and Rachmaninoff mixed together. Perhaps the most incredible short piece in the CD is Mozskowski's "Caprice Espagnole." This piece shows Hofmann at his very best. His repeated notes are simply astonishing. The piece displays Hofmann's imcomparable elegance, fire and tremendous control. The ending is hair-raising. The sound overall is quite listenable for its age. But it is the quality of performance that really counts here. Never mind the sound, just listen!

Average customer rating:

Which Hofmann?
Supplement to my earlier review of Hofmann's Brunswick recor
Hofmann: The Greatest Pianist.
Josef Hofmann: Wonderful playing, a little surface noise

Josef Hofmann, Vol. 4

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Gavottes | Ballets & Dances | Classical | Styles | Music

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ASIN: B000003LJI
Release Date: 1995-06-02

Tracks:

Pastorale And Capriccio
Gavotte
Turkish March
Melody in F, Op.3, No.1
Mignonettes: Nocturne
Prld in c#, Op.3, No.2
Prld in g, Op.23, No.5
Magic Fire Music
Scherzo No.1 in b, Op.20, Abbreviated
Nocturne in F#, Op.15 No.2
Waltz in c#, Op.64, No.2
Polonaise in A 'Military' Op.40, No.1
Chant Polonais, 'My Joys'
Conc Study No.1, 'Waldesrauschen'
Paganini Etude No.3 in a flat, 'La Campanella'
Hungarian Rhap No.2
Hungarian Rhap No.2, Abbreviated Version

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

Supplement to my earlier review of Hofmann's Brunswick recor.......2000-04-23

Since my last review, I went to see my piano teacher once again (on April 14, 2000). She was amazed at the further dramatic improvement in my technique.

The only occasion that I saw and heard Hofmann perform was when I was a teenager: the Schumann concerto, at Lewissohn Stadium in Queens, New York City. What impressed me most was his wrist motions, jumping away from the piano keys. In my opinion, therein lies one of the secrets of his tone quality, which I now can imitate only very, very approximately. My piano teacher does much better, although she does it naturally and without understanding the physical principles involved.

I presently believe that another one of the secrets of Hofmann's playing was his good touch -- partly attributable to his wrist motions, partly to his finger relaxation. In this way he avoided banging, for banging on the keys produce harsh tone quality. I can prove all this on physical grounds.

When I worked at Bell Telephone Laboratories and told my colleagues, both engineers and physicists, that I could control the tone quality by the way in which I would push the keys, they all doubted it very vigorously. They rightfully believed that when the hammer strikes the key the hammer is in what physicists call "free fall" -- that is, not under the control of the pianist. But they wrongfully believed that therefore the tone quality is independent of the pianist's touch. When I explained to them my theory, based upon a combination of advanced and elementary physics, they all agreed.

Apparently Josef Hofmann, a genius in his own right with many patents to his name, either instinctively or by a combination of instinct and listening, discovered how to control the tone. On the other hand, as I recall from watching a child prodigy when I was a teenager, it seemed to me that he had also mastered the art of controlling the tone.

At any rate, I would urge you to listen to the Brunswick recording, and to do so before listening to the Casimir unless you enjoy hypermodern music or enjoy Hofmann no matter what he plays.

Hofmann: The Greatest Pianist........2000-04-09

I am an amateur pianist who, as of 50 years ago, had the greatest technique of any amateur pianist that my cousin, who then played trumpet under Toscanini, had ever heard. On the other hand, I should like to say upfront that Hofmann's technique is the only technique of all the greats that I cannot begin to touch. I say this even as of today when my technique is far better than 50 years ago -- attributable to a new method of piano practicing that I have discovered, aided by listening to Hofmann's Brunswick and Casimir recordings combined with learning and practicing Tai Chi under a Chinese master, who once took second prize in an all-China contest.

This Brunswick recording includes some really phenomenal playing. I myself play some of the pieces on it, including the Rachmaninoff Prelude in g. My piano teacher of 55 years ago - who had studied under Schnabel and Alexander Siloti, and who later concertized regularly in Boston - once told me that Rachmaninoff said that Hofmann played the Rachmaninoff g minor Prelude better than he himself could!

On another note, about a year ago my wife and I went to a piano concert at which the pianist played the Rachmaninoff g minor Prelude. My wife, my greatest critic, told me that I played it better. Then we went into our automobile, where I just happened to have record player set at the beginning of the Hofmann Brunswick recording of this g minor prelude. She did not recognize the piece! She could not believe it when I told her it was the same piece that the pianist had just played and that she had correctly identified as one of the pieces that I play!

Hofmann's tempo is breathtaking. Yet Hofmann makes it sound so easy. The same can be said for other pieces in this Brunswick Recording.

In the slow middle section of the g minor Prelude, Hofmann makes all the polyphonic lines stand out with impeccable clarity. Listening to this playing from start to finish gave me a clue as to how to practice to achieve his tone and improve my technique, all at the same time. As a result, my playing has dramatically improved in the past three or four months. For example, today I can trill with my second and third fingers, which I could never do before with any degree of usefulness compared to with other fingerings. I no longer avoid trilling with the second and third fingers. I can do all my trills much faster and more controllably as to dynamics than I ever dreamed I was capable of doing. I also was able to bring out polyphonic lines much more clearly than ever before. Lest it was all imagination and ego, I went to another, more recent one of my piano teachers who hadn't seen me in eight years. She agreed that my playing both musically and technically had dramatically improved and was ready to believe me when I said that I had been taking lessons with several other teachers in the interim. When I told her that of these teachers the most important one was Josef Hofmann, she gave a laugh of relief. Parenthetically, she herself gave her debut at Carnegie and earned a rather good revue in the New York Times that she distributes as advertising.

I attribute my own dramatic improvement in no small measure to listening to Hofmann's playing on this Brunswick Recording, and figuring out what he was doing and how he was doing it. But it has not enabled me to play the Rachmanioff g minor Prelude anywhere even remotely nearly as fast.

I have rated this CD with 5 stars.!

For those of you who don't know me - probably all of you - I hold a PhD degree in mathematical physics.

Josef Hofmann: Wonderful playing, a little surface noise.......2000-03-15

Volume 4 is a single CD containing recordings of Josef Hofmann from 1922-23 known as the Acoustic Brunswicks. The surface noise is much better than Volume 3, but these are still a little noisy. This is Hofmann in his prime, about age 46. The playing is delectable, as always with Hofmann. It is again Hofmann in the shorter pieces -- a nice selection without much duplication. My assumption is that anyone interested in Hofmann will start by getting Volumes 1 & 2 -- the Chopin Concertos and the 1937 Golden Jubilee Recital. Beyond that, in choosing among Volumes 3 to 6, Volume 4 probably the best choice, if you can take a little surface noise. (Otherwise, Volume 5 would be my suggestion.)

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