Josef Hofmann: Columbia Test Recordings, 9 February 1940

"In Josef Hofmann, instrumental virtuosity, artistic vision, and scientific pursuit combined to draw from the piano a particular magic no other artist could summon."
Abram Chasins
Perhaps not at his most inspired and certainly past his prime, but IMO still worthwhile...
1. Three Chopin fragments:
- Polonaise in A major, Opus 40 no. 1 "Military"
- Waltz in A-flat major, Opus 42
- Chopin Nocturne in D-flat major Opus 27 no. 2
2. Liadov: Musical Snuff Box (complete)

[@RabidCh]

Some of Hofmann's late recordings are actually worthwhile purely based upon the sound quality, giving the listener a good glimpse of what Hofmann's unique piano tone likely sounded like, despite his condition of technique. For instance, Mendelssohn's Spring Song from July 30, 1945 sounds very, very, good for a 1945 live recording.

[@j.vonhogen9650]

Actually, his technique never deteriorated, it was a loss of control caused by several factors, one of which was alcoholism. But even his drinking, which started to become excessive in the 1930s, did not seem to affect his playing until much later. As this 1940 test recording shows, his playing was still top notch.

[@sambafamba]

„I had a very good mechanic who unfortunately died. Now I’m doing things all by myself.“

[@j.vonhogen9650]

Simply amazing!! I wish more pianists of today would study Hofmann's playing and would learn from it.

[@johnschlesinger2009]

Anyone who doesn't know Hofmann's recordings of the Chopin concertos should seek them out. They are incomparable. Jorge Bolet singled out Hofmann's performance of the second movement of the f minor: he thought it unbelievably beautiful - and he was right! It is a tradgedy that Hofmann made only a handful of recordings. Rachmaninoff thought Hofmann the greatest pianist, and Hofmann said the same of Rachmaninoff. Another relevant thing from Harold Schoenberg's book: Rachmaninoff was at a recital in which Hofmann performed the Chopin B minor sonata. Afterwards, Rachmaninoff turned to his friend and said "There goes another piece from my repertoire. It was only the music, and he's the only one who can do it." Sadly, Hofmann only recorded the first movement, but this amazing recording shows that Rachmaninoff was not exaggerating.

[@philipau3847]

That was actually from Abram Chasin's book "Speaking of Pianists" and you can actually hear him telling that story in an interview with David Dubal here on youtube.

[@johnschlesinger2009]

Harold Schoenberg, in his book "The Great Pianists" said of Hofmann: "above all, he had tone: a tinted, pellucid tone". Absolutely - it shines through here, in every note.

[@paulprocopolis]

Interesting to hear these test recordings. The playing is very clear and clean and the sound very good too!

[@CoBRaAndreChannel]

Токарь Василич с нашего завода

[@noshirm6285]

I wonder what Rachmaninoff would have had to say about Hofmann’s take on the Liadov Boite à musique! 😄 I don’t think I’ve ever heard it taken at such a quick clip. The snatch of the Nocturne in D flat that he plays is exquisite, but entirely lacking in sensuality. I wonder what Michelangeli thought of Hofmann’s playing. 😮

[@j.vonhogen9650]

"entirely lacking in sensuality"?
What does that even mean?

[@noshirm6285]

@@j.vonhogen9650 It’s ‘chaste’ playing devoid of heated emotion.

[@noshirm6285]

@@j.vonhogen9650 Contrast Hofmann’s interpretation of this piece with, say, Kentner’s: ua-cam.com/video/QWbgam2Dajg/v-deo.html. Of course, Hofmann was a greater pianist by far, but Kentner comes across as ‘warmer’ in his interpretation. Even lovelier is Horszowski’s recording of this piece, made when he was in his 90s. 😃

[@bvbwv3]

@@noshirm6285 Could one say "refined sensuality"? Certainly, Hofmann understands and performs everything (and its indications) that is going on harmonically, which, in fact, carries the emotional content. In other words, Hofmann's emotion is not in one's face. One has to actually listen.

[@noshirm6285]

@@bvbwv3 A good point! 🤗 I hear that refined sensuality at work in, say, the playing of pianists like Rachmaninoff. His face was almost expressionless as he played, from what I have read.

[@ustadspencertracy7195]

I wonder if it was true that Hofmann learnt most of his repertoire in his teenage years.

[@dorfmanjones]

Like most professional concert pianists, certainly most of their reliable repertoire was acquired before 25 years old. The material they prepared for competitions. (Not that Hofmann competed.)