Josef Hofmann: The Mercurial Giant

[@JohannnesBrahms]

You REALLY SHOULD take in that f minor Ballade recording of 1938. It is horrifically magnificent. It was just before this concert in Casimir Hall at Curtis that Hofmann was informed that he was being deposed as head of the music school. One can imagine him smacking Mary Louise Curtis Bok around with this defiant performance.

[@farazhaiderpiano]

Hofmann was truly a genius. To get an idea on what Hofmann was truly capable of listen to his recording of Beethoven’s fourth piano concerto with Eugene Ormandy conducting - don’t let it bother you that he uses Carl Reinecke’s rather wacky cadenzas in the outer movements - Hofmann’s interpretation is filled with great splendor, as well as power and verve. He turns what is too often played in a dull manner into an exciting and altogether passionate experience of Beethoven’s music. Thank you for the Chopin examples, these are also wonderful choices to highlight the different stylistic traits of Hofmann.

[@TheIndependentPianist]

Thanks! I will take another listen to that 4th concerto recording. It's been awhile!

[@farazhaiderpiano]

@@TheIndependentPianist Please also let me know what you think! I very much appreciate your insights!

[@pablobear4241]

It's simple as this to me, he is a god. He is blessed by his era, he is still in the Romantic tradition. HE PLAYED FOR ANTON RUBINSTEIN, whoPLAYED FOUR HAND PIANO WITH LISZT. Having that DIRECT connection in your bones, is unreal, why his some of his interpretations are "crass" or whatever you want to call it by our modern standards, to me lies in a misunderstanding of what these artists were like, they had giant personalities. That's why the are so great to begin with, they wouldn't be the giants they would be without their "idiosyncrasies", being restrained ofc though and playing with authority is another ideology or style, that is important, the thing is Hoffmann had both.

[@gunger1987]

hi pablo

[@bhugh]

What is really astonishing is the clarity and precision with which he brings out every little articulation, phrasing, and other nuance that Chopin marks. The sort of thing where students will say, "How can you play both staccato AND legato at once. That's impossible!" Yet there it is, clear as anything. Much of it seems to have to do with the astonishing precision and clarity he has, not only with notes and timing, but also with attack, release, and other subtleties of touch and articulation.

[@中沢不二夫]

Japanese ホフマンは、特に興味をひかれるピアニストのひとりです。取り上げてくださったことに感謝します。

[@StanleyGrill]

It’s hard to think of a pianist who can quite match the amazing fluidity and grace with which he tosses off difficult passages.

[@johnsarkissian5519]

The only other one from the recording era is Rachmaninoff who is as thrilling. And then there’s Franz Liszt himself from whom, sadly, we have no recorded music.

[@militaryandemergencyservic3286]

My favourite pianist.

[@TheIndependentPianist]

A good one to pick!

[@matthewlong3817]

Great summary of Hofmann’s pianistic personality, bravo. What amazes me most about Hofmann’s playing that remains unmentioned is his miraculous voicing-every line in every texture is meticulously carved out with its own contour and space, and he achieves a marvelous range of colors within his overall lucid and limpid sound-world. His interpretive choices even at their most extreme always sound supremely musical to my ears. I suspect that if his playing strikes us today as erratic, that is a result of our displacement in time from the era of Rubinstein and the great Romantics. There is always a sense with Hofmann that the music is alive and not a dead artifact from another time and culture on display in a museum. I actually love the almost campy extremes of his Ballades or the Waldstein from the 30s, they seem dangerously theatrical but manage to tell a gripping and coherent story better than most performances today. Must music be only pleasantly beautiful? Terror, anger, and ugliness are human expressions too. Hofmann makes you question many assumptions we take for granted today.

[@TheIndependentPianist]

I loved reading this very insightful and thought provoking comment, thank you!

[@jamesherried9269]

Hofmann (unlike Rachmaninoff) was always known for his spontaneity when playing the piano. And that explains why his playing sometimes seems erratic, and somewhat off-track (momentarily). If one does something different spontaneously, it probably will sound erratic. Rachmaninoff, by comparison, didnt sound erratic in his playing, probably because he didnt play spontaneously.

[@johnschlesinger2009]

Hofmann at his best is simply wonderful. Harold Schoenberg, in his book "The Great Pianists" said: "above all he had tone: a tinted, pellucid tone." This is shown to perfection in the slow movements of the Chopin concertos. George Bolet selected the slow movement of the F minor as a favourite. I have always been especially impressed by his wonderful use of the sustaining pedal - often very sparing, and with frequent changes, resulting in transparency in, for example, the second theme of the B minor sonata. Rachmaninoff was at a Hofmann recital when the latter played this sonata. At the end, Rachmaninoff turned to his companion and said "There goes another piece from my repertoire: it was nothing but the music, and he"s the only one who can do it".

[@TheIndependentPianist]

Yes, the pedaling is particularly impressive!

[@Chopin-Etudes-Cosplay]

Maybe my favorite pianist. I really actually like his matter-of-fact style - there is something very aristocratic about it, where he seems to ruthlessly keep a certain tempo/rhythm but still be expressive and free within those bounds. I love the call out to his concerto performance here as I always found it to be so unique - how can he take such a tempo with little rubato and still manage to make it so sweet and endearing? Other performances sound overly sentimental in comparison. I saw in an interview with Ruth Slenczynska that Rachmaninoff had told her he practices 17 hours a day to match Hofmann. And Bolet also was very open about how Hofmann was the absolute best in his mind. Interestingly Hofmann seemed to particularly admire Godowsky’s playing, so maybe that is another pianist to feature on this channel! For his Berceuse, I recommend hearing his Jubilee recording instead. The sound effects are much clearer and mesmerizing and I suspect that the mechanical beginning was done deliberately to build up to the wondrous world he unfolds later in the piece. If you look up an interview of Stephen Hough and Jeremy Nicholas, 30min in he picks this recording as one of his favorite Chopin recordings and has some commentary about the tempo. I love Hofmann’s playing and personally would love to hear people try to follow his example even if it does risk sounding like a “caricature” 😅.

[@TheIndependentPianist]

Very interesting, thank you. I'll check out that interview, I'm surprised I haven't already heard it!

[@TheIndependentPianist]

Yes that Berceuse from the Jubiliee concert is wonderful-so imaginative. It is completely the opposite of my own feeling about the piece, but I love his playing anyway. That's a fun experience to have!

[@tobiasmostel]

@@TheIndependentPianist You realize, of course, that Hofmann came from a century when the artists believed that all music tells a story. The story is not particular usually, except maybe in the R Strauss tone poems. Hofmann's story in the Berceuse of 1937 is simply that the child is going to sleep. He/she drifts in and out of consciousness. At the very end, the sound of a clock downstairs bangs out the hour--as it always does- finally the child sleeps. It's a wonderful performance--Lhevinne references it in his beautiful performance of the Chopin Prelude in Ab Op. 28 No. 17 where at the end of the piece he reiterates the low note, marked Fz really loudly. He continues as marked all the way to three bars before the end. It's a great effect. Most modern pianists don't do anything with that note--probably because they think a Fz is inappropriate in that spot. Lhevinne proves them wrong. Just as Hofmann proves everybody wrong in the Berceuse. Other pianists who play the Berceuse in Hofmann's way are Ignaz Friedman, Koczalski, Rosenthal (My Joys), and others. Please understand that my interpretation of the Berceuse is my own. I'm sure there are plenty of other interpretations of this beautiful piece.

[@bobdagranny7431]

An absolutely brilliant pianist, probably my favourite!

[@philipau3847]

I'm in the worship Hofmann camp. He was no doubt individual, but more importantly, extremely musical in what he did with phrasing and rhythm. I personally love what he did with the F minor Chopin concerto even more than the E minor - I cant listen to anyone else play it anymore. Technically, not to mention his perfect evenness, I've noticed a few motifs stand out to me that seem so novel but I've not heard any other pianist do: - On fioritura - he is the only pianist who chooses to fit the fioritura in the into the bar lines of the measures as opposed to expanding the measure to fit the fioritura ie. he doesnt adjust the tempo to accommodate the fioritura so the pulse of the music is always maintained. - Trills - Hofmann's trills are so distinctive partly because doesn't accelerando on his trills - he is at full speed on the first alternation. Its a simple (on paper) but brilliant effect.

[@kbrod1]

One should listen to his legendary 1923 Brunswick recording (on youtube) of him playing Wagner-Brassin Magic Fire Music. Even with the great virtuosity that exist today I seriously doubt anyone could anyone play like this.

[@TheIndependentPianist]

Yes, that is a great recording-although I 'm not as convinced by the transcription itself!

[@guacamole7493]

When I first heard Hofmann I was blown away. The way the scales spin out effortlessly with supernatural eveness, the way the melodies sing. I tried doing a little of what he does in the 3rd Chopin ballade and the first polonais that i had already learned. Then I realized why few other even attempted it, Ignatz Friedman, Walter Giesiking come to mind. It's incredibly hard to do! After I heard his playing it seemed the only obvious way the piano should be played. I went back and focused on guitar.

[@grahamtwist]

Your presentation is my first encounter with Hofmann recordings and the examples you provide perfectly support your analysis of his strengths and flaws as an interpreter and performer. There were plenty of moments of exquisite beauty when he put his virtuosic technique to greatest effect . . . and moments where his unique approach was more disconcerting. Perhaps he should be forgiven his idiocyncrasies when he was capable of producing what you describe as 'magic' in his playing. What I do feel confident about commenting on is my praise for your always balanced and thoughtful, and above all, kind explorations of the recordings made by some of the world's greatest pianists. You are never harsh when explaining the rationale for you opinions and you are always aware that being absolutist when it comes to judgements is territory best avoided! Whether in your own performances or when providing analysis, we are always assured the highest possible quality . . . and a truth that speaks profoundly from the heart: bravo!

[@TheIndependentPianist]

Thank you Graham!

[@PeterLunowPL]

I couldn"t agree more with everything you say

[@apostoloskolegiannis8222]

I find these little embellishments from Hofmann as his personal signature on each interpretation.he does not overdo it and it was amazing to discover each one of them when first listening to his recordings. I do no find them annoying as some erratic rubatos of other pianists who try to add some personal taste. I also love the harmonic preparations he usually does before pieces

[@dorfmanjones]

I think Hofmann is often at his best in the concertos we have with him. The best introduction to him is with Barbirolli in the Chopin concertos and the Beethoven 4th. Also the same concerto with Ormandy, and the Rubinstein 4th with Reiner. In the studio his most satisfying playing may be the test pressing of the 1st movement of the Chopin Bm sonata. The listener can then expand to the other recordings and expose him/herself to some of his oddities and capriciousness. But at his mercurial best, almost everyone else sounds heavy and even clumsy.

[@affonsosantos5729]

His entrance in the Beethoven 4th with Barbirolli (NY, 1941?) has not, to my knowledge, ever been surpassed.

[@Erikvanglabbeek-s9f]

Hi Cole, I just discovered your channel and I think you are doing something GREAT. You took the initiative to display my grand-hero's from the past. Simply LOVE what you are doing!!

[@craggyisland8770]

I think his “change up” in Chopins E Flat nocturne is quite nice and works well with the spirit of the music

[@TheIndependentPianist]

I found myself liking it more and more also. I guess it is just the opposite of how I would imagine it, but still very convincing.

[@ocean_0602]

​@@TheIndependentPianist Something interesting I recently stumbled onto. Raul Koczalski and Aleksander Michalowski both have recordings you can find here on youtube of this Eb nocturne and they perform several runs and ornamentations similarly to Hofmann here, if not more pronounced. Given that Koczalski and Michalowski both studied under Karol Mikuli, Chopin's teaching assistant and best pupil, this kind of playing may suggest how Mikuli was taught by Chopin, which in turn gives Hofmann's similar playing some historical credibility.

[@scronchman0146]

Regarding the berceuse i think there is something very magical about the contrast between the dreamlike quality of the music itself and the almost mechanical way Hofmann plays it. Somehow those intrinsic qualities of the music remain and speak for themself, without the pianist having to reinforce or add anything. Kind of reminiscent of a music box. You can view the "mechanical" sound as a musical effect in itself, which pairs remarkably well with the repetitive bass figure. Mechanical does not have to be a bad thing!

[@TheIndependentPianist]

That's a very interesting idea, thank you for that. You are quite right, sometimes it is better not to "do" to much all the time. In this particular piece the balance between reserve and expression doesn't seem to strike me quite as effectively, but it is certainly a valid approach.

[@michaeltierra6388]

@@TheIndependentPianist He tried to make a virtuosic display rather than a lullaby. It seems absolutely out of character with what Chopin expressed in all his other music.

[@pablobear4241]

I find Richter to play like this sometimes. I've read similar things about Josef Lhevinne's playing too. There is almost what seems like an indifference of tone in this kind of playing, but, if it's executed well (I think you need an amazing fundamental tone to pull it off well), it usually is a really cool effect.

[@dorfmanjones]

He was definitely going for the wind-up music box effect. It was intentional for sure, and that projects its own early childhood quality.

[@ianboard544]

Hofmann's clarity amazes me. Every note stands in relief and he has such a unique sound.

[@lucasgust7720]

Your channel is so wonderful. Most of the young generation of pianists seems so superficial. It was needed a channel like this, with more information and deeper reflections. And by doing so you created a channel that is also a good nest where cultured and deeper people comes to leave comments that are more interesting than the ones we usually find in other channels of classical music.

[@feinberg4625]

Thanks a lot for making this! I think I agree that the bass bombs can sound somewhat crass and the scintillatimg runs sometimes flippant tho I feel like an example where a moderate application of those techniques works extremely well is his 1942 performance of Chopin's D-flat nocturne. The quick tempo and hurried flurries of notes engenders a sense of anxious desparation and disquiet for me which I think suits the piece very well - especially with the thoughtful applications of explosions in the bass which almost remind me of lightning strikes or just generally an obtrusive terror that he's trying to hide from. Really though I think it just boils down to how Hofmann's Chopin makes me tear up far quicker than anyone else's so I can't help but love him with or without justification.

[@TheIndependentPianist]

Well no need for justification after all! He really is remarkable, and I found myself being persuaded more and more as I listened to him. Thanks for the suggestion!

[@sirsamfay99]

I am still collecting his Duo Art piano rolls. I still have 7 to go but they are very hard to find.

[@pborgia1]

You might try to find some of the midi conversions of the piano rolls

[@SimonStreuffViolinEducation]

I would say: Not every musician has to be sentimental to be great. That Hofmann also was interested in other fields shows, that music wasn't the only thing in his life, which to me makes him sound very refreshing! His live recordings are without words... very flashy and unpredictable at times, but with a certain idea... even if the idea is just his display of his own power and boldness to me it is very inspiring. Very manly playing so to say. And you have to be reaally good to get away with what he does musically on this level.

[@Modeltnick]

Wonderful video about Hofmann! Lots of egos clashed in those days. Hofmann was a great inventor and was also a director at the Curtis Institute. Hofmann even built a mechanical navigation system for automobiles. He unfortunately developed a drinking problem in later years. I have some of his early Columbia recordings and they are simply enchanting! He was also a child prodigy that was on the concert circuit at a young age. The Corning Glass family was the catalyst to take him off the circuit until he was eighteen.

[@walter9215]

Thank you very much for this fascinating exploration of the great Hofmann. I love Hofmann's playing, although I don't always agree with his interpretations. It's his amazing tone that keeps me listening. There is a wonderful film of his playing the Rachmaninoff Prelude in Csharp minor Prelude. I believe it's his only filmed performance. The playing is great! You get a glimpse into how he produced such a wonderful sound. He never directly lands on the keys from above, but instead touches the keys and then pushes into the keyboard, using his whole body. This is very much like Arrau and Rubinstein. Josef Lhevinne talks about this in his great book on piano playing. The Chopin concerto excerpt was splendid, so free and relaxed. Just great! Thanks again.

[@TheIndependentPianist]

I love those videos too! Particularly the Beethoven "Emperor" video. So effortless!

[@harrybmichell]

23:25 that “answer” is brilliant, and not a detail I recall hearing in many other recordings. Thanks for pointing that out

The Andante Spianato and Grand Polonaise from his Golden Jubilee concert really should be here. It's astonishing and unlike anything you have ever heard. Just amazing.

[@TheIndependentPianist]

I thought about that one, but found others that affected me more!

[@arturkranz-dobrowolski2959]

Our knowledge of Hofmann's pianism is quite limited. Most of the surviving recordings are virtuosic or lyrical miniatures. Meanwhile, the eminent Polish composer Witold Lutoslawski (1913-1994) recalls that after he heard Beethoven's Op. 111 interpreted by Hofmann at a recital, he could not listen to any more performances. You mention Artur Rubinstein and say that he was a Polish pianist. The same applies to Józef Kazimierz Hofmann, born in Krakow at 5 Kurniki Street. As far as his inventions are concerned, over 70 patents belong to Hofmann. Postscript. You pronounce the title of Chopin's song "Moja pieszczotka" almost perfectly. Only the "cz" is missing (so you pronounce "Moja pieszotka"). The cluster "szcz" is not so difficult to pronounce, however. Here is an exercise: Say "fish". Say "church" Say "fishchurch" (legato, molto legato!!!) Done.😹😹 As for the translation of "Moja pieszczotka", the noun "pieszczotka" is derived from the verb "pieścić" ("to caress") and means someone who is tenderly loved and caressed.

[@TheIndependentPianist]

Thank you for the details of Polish definiteion and pronunciation! I do so wish that we had more Beethoven from Hofmann, including Op. 111. For that matter Op. 111 was in Rachmaninoff's repertoire also...

[@Iamusinggoogle]

Wonderful survey. Thank you very much

[@MartinPJ-gx1tu]

Thought he was wonderful. So fresh and brilliant. Thank you for providing this.

[@RModillo]

A classmate in a summer camp (pianist) once told me how much he admired Hofmann. I asked what he thought about Rubinstein's criticisms. He said "yeah-- well. He's got a Campanella Variations that'll singe your balls."

[@michaeltierra6388]

Thank you, this was a wonderful pro and con (the 'con' I never knew about). This revealed how incredible his technique was, especially when he was younger. He seemed like he could do anything, and much to his credit and detriment, he did.

[@r.i.p.volodya]

I enjoyed your video very much. For me personally, my top x4 pianists: Horowitz, Hofmann, Friedman, Rachmaninoff. What I value most from a pianist is the communication of a unique personality, a unique piano sound, an exquisite, singing turn of phrase, and, of course, a blistering technique when needed. There seems to be precious little of that amongst today's pianists...

[@bradyredding1964]

Awesome video, never would have though to research more about hoffman! Would you ever consider doing a video about composer's such as Bortkiewicz or Lyapunov? Especially the Bort piano concerto No. 1, I always find it crazy how original the music is when every one describes him as a copycat composer. I like the new haircut too!

[@TheIndependentPianist]

Thank you! I’m still getting to know Bortkiewicz, I’ll take a look at the piano concerto. Thanks for that recommendation!

[@dedos-pima]

Hofmann's book "Piano Playing" Is instructive to any musical instrument if you read between the lines. Think about your instrument while you read the book and you'll see a frame of reference pop up for your instrument. Personally, I found references that much improved my technique on the guitar. He has certainly cast pearls throughout the book.

[@nickk8416]

It's amazing just how much I agree with you points. Videos too. Scary really. .. .

[@scronchman0146]

The g minor ballade is my favorite recording of his. I used to dislike it but it grew on me. His choices may be unusual but there isn't necessarily anything wrong with them. They make sense in their own way. The LH bombs drop at the places i feel are the most ecstatic. Fast tempi also are largely a matter of what you're used to

[@TheIndependentPianist]

Interesting that you put it that way, I also found that I started to like Hofmann's mannerisms more and more as I re-listened.

[@208charris]

I liked that one too. I'm not much of a musician and I found other versions sprawling, they just didn't come together for me. The Hoffman version was tight and compressed, the piece came together as a whole. And that in spite of, maybe because of, the unusual speed that many complain about.

[@dorfmanjones]

The thing about the gm Ballade is that the passagework is all just quavers. There's no presto until the coda. I think a quaver at an allegro tempo ought still be subdividable into semiquavers (in one's head, obviously). With Hofmann that's absurd. He's already playing the eighth notes as presto semiquavers. Perhaps Liszt or Anton R. played it that way, but not the composer, surely.

[@astrasfo]

Hofmann's incredible imagination made for thrilling and inspiring performances. I do not agree that these were somehow "unmusical".

[@petergoldstein1075]

Many people have recorded chopin's Berceuse. But a berceuse is a lullaby. To my dying day I will not understand why so many people play this piece so fast and so unlullaby like. Needless to say the definitive performance is by Marylla Jonas. Thank you David Dubal for bringing this great performance to my attention, along with her great recording of the g sharp minor mazurka. The world holds its highest rewards for beauty( J Lhevinne in his book)

[@RedCloudBeechWaveAhh]

Thank you so much for gathering this together. I haven't spent time thinking about Hoffman. He was a super-clear player. It is interesting that Rachmaninoff had such a superlative opinion. There is perhaps still something I am not hearing yet, unless it is Hoffman's unsurpassed clarity and brilliance that is enough for Rachmaninoff. If pianist means piano player, Hoffman is clearly the greatest. It says something fascinating that he was head of Curtis. Administration and leadership are not criteria are not equivalent to being a great musician. I wonder (do you know?) how he was looked upon by other musician, composers and other musical authorities. Maybe it's not so important, but I am curious about this virtuoso of virtuosi. The outdo is magnificent BTW! Many thanks!

[@TheIndependentPianist]

Probably it was something to do with the restrained control and clarity of intent that resonated with Rachmaninoff-but it is hard to say of course. Hofmann seems to have been held in awe by most contemporaries. He doesn’t seem to have played much contemporary music, so I’m not certain what composers aside from Rachmaninoff felt about his playing… something to look into. Thank you for commenting!

[@petergoldstein1075]

Josef Lhevinne also studied with Anton Rubinstein, wrote a book called Basic Principles of Pianoforte Playing,in which he discusses Rubinstein and is without question the best concert pianist who ever lived because no one else played with as much physical ease of execution and depth and intensity of musical expression. Best recordings: Fruhlingsnacht, La Campanella , Rachmaninoff g minor prelude, chopin nocturne in B major, moonlight sonata

[@liedersanger1]

Who is the subject of the " is" in the fourth line, Rubenstein or Friedman? It's not clear.

[@mariam_much]

You're doing god's work, thank you ! 😭

[@poplarboydavid]

Just really enjoyed your presentation!

[@EElgar1857]

Bombs, indeed! I agree with Arrau, but then, he's my very favorite pianist.

[@adambowles3804]

Thank you for this outstanding video on Hofmann! I discovered his playing as a freshman at the Eastman School about two or three decades back 🙂 I wonder who backstabbed Hofmann back in the late 1930's so badly that he was forced to resign. Very sad.

[@dorfmanjones]

I think he had an affair with a student. That was part of it anyway. (And I believed he married her.) There really should be a biography published.

[@barrygordon5323]

Hofman was considered number one by many pianists including Rachmaninoff .. besides having a massive technique,he was the most natural pianist I've ever heard,he made even many great pianists sound mechanical. ..listen to his recording of the Rubinstein d minor concerto,just incredible...or the fourth Chopin ballad ,just genius...

[@diffugerenives]

Other than the Berceuse, his playing is always interesting! Thanks for the video

[@globalc3849]

Being a pianist myself it’s impossible to imagine having a technique as formidable as Hofmanns. Technique in general has not gone up since the greats of old.

[@testchannelone6616]

Interesting video, and I applaud you for it, even though we have obvious misgivings about Joe's playing. Technique in over-abundance definitely, and the bent to display it when possible, as opposed to subdueing it. (Arrau, Richter). I also see Joe's playing as a kind of reflection of his times pianistically, the so-called golden age, etc. The Chopin Berceuse is an example. It's not an Etude in Db, but a berceuse. (I do envy his speed in some passages.) Regarding the "bombs," I think they should be used very sparingly, if at all. I've used it myself in Ravel's La Valse, at one explosive spot and that is most effective, but the only way to explain its over-use is the symptomic display of piano technique over deeper musical insights offered by such as Arrau, Rubinstein, etc. Hoping you'll do a vid sometime on Alicia de L. Cheers!

[@TheIndependentPianist]

Great idea about Larrocha! Thank you for your comments. I think I feel similarly sometimes about the need to not draw attention to technical ability-at least in certain pieces.

[@robertczebotar7753]

Hello from Poland! Thank you for your work! And, about this title: "Moja Pieszczotka". "Moja" in your version is perfect, but in "pieszczotka", you should say cz right after sz, which means piesz cz otka. This very difficult cz sound, sounds like Ch from the word Chicago:) Greetings from Poland!

[@Huwtube72]

I'm surprised it wasn’t mentioned in the video, the interesting fact that Hofmann had Steinway make him a piano with a slightly narrower keyboard than normal to accommodate his smaller hand size. The keyboard was 3.5cm shorter than normal which means that each octave was 0.5cm narrower than a regular piano.

[@Isegawa2001]

Will Gould ever feature in this list? Or, do you plan on featuring a living/'modern' pianist here? I'd love to hear your thoughts on Zimmerman, Argherich or Freire.

[@TheIndependentPianist]

Sure, I might consider doing some videos that talk about contemporary artists. Perhaps I should also get back to Gould sometime-I had a couple rather contentious videos about him early on in my channel!

[@Isegawa2001]

@@TheIndependentPianist Your Gould videos were the first ones I watched : ) It's interesting to see you've made videos defending and criticizing him. The most vocal people on the internet seem to be irreconcilably split on that regard. If you don't mind me asking, how would you summarize your thoughts on Glenn?

[@antoniomonteiro3698]

Nice one. thank you!

[@andrewharrison8975]

With regard to the criticisms by his contemporary peers I would largely agree in the case of Rubinstein and Horowitz it’s was mostly professional jealousy, and that Arrau’s observations should be treated more seriously, but it is still really a matter of taste and style, and I would observe that, in MY view Arrau can sound a little ‘lumbering’ and flat at times. But, in terms of technical ability Hifmann’s playing is transcendental; may be Hofmann had too much technique (although he wisely avoided quite a few of Chopin’s etudes because he said he couldn’t play them - small hands?) and it allowed him a very free style, but remember what Godowsky said, when at a Hofmann concert a fellow member of the audience pointed out a finger slip by Hofmann, ‘why look for spots on the sun ‘!

[@nickarteaga175]

I went through a period of being fascinated by Hoffman, as well as Horowitz. My view is Hoffman seemed to two very different pianists. In the studio he was classically restrained, sometimes to a fault, as his recording of the Berceuse demonstrates, when he was in front of an audience he could be wild and unsettling and this is obviously on purpose. I find his recordings of the Ballades from the 30s very unsettling but also fascinating. What both have in common is an absolute technical control of the instrument. I suspect, but can't prove, this is something he learned from Anton Rubinstein, I don't believe this was his changing style later in life. Of course if we had live recordings from before the 30s we'd know. If you read the criticisms of Rubinstein by other pianists they're similar to the criticisms leveled at Hoffman from other professional pianists. I suspect Rubinstein played differently in front of a more intimate audience. BTW, it would be interesting to look at Hoffman's own compositions. I recently heard his recording of an Elegy he wrote in the early 1940s. Wonderful performance.

[@dorfmanjones]

One f and two nn's in Hofmann.

[@glenngulda]

Its the art of interpretation as its best. why does so much people always criticise interpretation and expect a so called historical correct interpretation? the art of interpretation is an interesting art because of those differences, like hofman does. hofman is so inspiring and we all can learn from it. so just take from it what you want and can. and just respect and most of all: try to understand his way and what the benefits are of his way of interpretating compositions…

[@Mr.Dziej72]

You have a beautiful speaking voice.

[@willgraham8878]

Also don't forget that Hofmann was a "Full Blown Alcoholic" which no doubt seeped into his playing!!! Who knows if he was drunk, or at least lit, when he made some of these recordings!!!😮

[@militaryandemergencyservic3286]

he also does a good Waldstein (on YT)

[@TheIndependentPianist]

Yes, I quite liked that one also-although the last mvt was quite wacky to me (dry where Beethoven marked pedal etc,). But that 1st mvt has wild energy and magnetism.

[@warrtus]

I think „Moja Pieszczotka” translates best to something like „My Sweetheart” :) It’s based on a poem by the great Polish poet Adam Mickiewicz.

[@richardadkins2399]

I am just sharing this post I found on the Hoffman Chopin Sonata test pressing on KZbin. You can go there an read it for yourself, but it bears repeating here: In his 1986 NYT article "DO TODAY'S PIANISTS HAVE THE ROMANTIC TOUCH?", Harold Schonberg wrote something which I think is even more relevant today: "...of the legion of very good, respected, international pianists who play much the same repertory much the same way. Daniel Barenboim, Emanuel Ax, Radu Lupu, Peter Serkin - one can go down the list. All are players hard to fault, all are dedicated artists of unusual skill, and yet their playing is curiously charmless, lacking in personality....objectively, standing outside the music, refusing any fervent emotional commitments, just producing beautiful, well-organized, impersonal sounds." You may not like Hoffman's way or ideas, but ATLEAST he had communicative ideas. He has something so say about this music. It seems modern performances are like someone reading a teleprompter which some OK inflection but not much behind it.

[@Isegawa2001]

I do not entirely agree with this sentiment, but Harold’s analysis has something which is sorely lacking from people today who expound the same opinion: the recognition that all the pianists mentioned, “charmless” though they might be, are still incredibly skilled and dedicated. One cannot seriously listen to any of the names mentioned and say they perform anything “badly”.

[@matthewlong3817]

@@Isegawa2001 that’s true, they never do anything wrong; but often it seems they don’t do anything right either. An artist I greatly respect said performers must do something wonderful, otherwise why wouldn’t I just stay home and listen to my Hofmann, Cortot, and Horowitz records

[@Isegawa2001]

@@matthewlong3817 I did not say they don't do anything wrong, I said you cannot claim they play "badly". Beyond this, claiming they "don't do anything right" is an exaggeration... we're all allowed our preferences, but there are many modern pianists who have wonderful ideas themselves.

[@matthewlong3817]

@@Isegawa2001 not being able to claim they play “badly” is a pathetically low bar…..my point is I expect more from an artist than merely achieving a professional standard. But possibly this explains why pianists like the ones Schoenberg mentions play everything much the same way: by not taking risks or showing any personality at least no one will say it was bad! But no one could also say it was magic, special, moving, unique, transcendent, or miraculous. That’s what I would call doing something right. Of course there are interesting pianists today with their own ideas or flair, Piotr Anderszewski, Benjamin Grosvenor, or Cyprien Katsaris with his love of extracting hidden inner voices come to mind. Or maybe even Ivo Pogorelich…but then he is so iconoclastic that many people say he plays badly! Maybe it is better to just play it safe :)

[@thesius313]

I really appreciate your content. There are some historical recording enthusiasts on Bilibili, one of them posted a walkthrough of Hoffman’s interpretation on Chopin’s Ballade No.4. Alas, it’s in Chinese. By the way, I wonder if I can make a subtitle in Chinese and upload it with this video to Bilibili.

[@maandahhan4900]

Great video as usual ! Have you considered making a video about dinu lipatti?

[@diffugerenives]

noticed that Hofmann can't reach the two 9ths in the third line

[@zavilov]

The explosive left hand is I believe a remnant of Rubenstein's playing. Hoffman was an amazing pianist and musician he could do what he wished just as Rubinstein warned him would be the case.

[@ronl7131]

JH unbelievable Artistry, from another Era. Exciting or tender. Always interesting. Wish he would’ve recorded the Rachmaninov 3, with the massive chordal coda. Or Rachmaninov Sonata 2. A Prokofiev sonata, or 2 or 3.

[@Alex-oy6ss]

Pletnev, Prkfv sonata 2(live)

[@tommytrekky855]

Could you do an episode on Athur Rubinstein?

[@fiokomjutub972]

Hofmann is the GOAT . (or minimum one of the GOAT)

[@叫爸爸-u6x]

I agree that the opening of Chopin’s Berceuse sounds a bit like midi, quite flat

[@ericb7937]

Wonder if with AI we can restore those recordings

[@kennethmheck1]

You mentioned Hofmann's inventions, but not his compositions, the most famous might be "Kaleidoscope." Minor composers such as Alkan, Thalberg, etc,. are becoming more of interest, so perhaps Hofmann may also get some recognition in the future.

[@militaryandemergencyservic3286]

Is that a Bob Ross painting in the background?

[@TheIndependentPianist]

No, I'm afraid not-it's an original by a friend of mine.

[@adrianwright8685]

There is only one Ross painting - but he has painted it about 10,000 times.

[@militaryandemergencyservic3286]

Not true. Let's see your paintings, please.@@adrianwright8685

[@jonathangilmore3193]

The W.C. Fields of the piano! One of the hardest things - for me - is to listen to a new pianist without immediately and spontaneously forming an opinion about the playing, especially if you know the musical piece and another pianist has your favorite conception of it. But that is so unfair, isn’t it. Far better to suspend musical opinion, and simply be more open to a different conception.

[@liedersanger1]

VirtuosO.

[@ddgyt50]

Regarding Chopin's Berceuse it is my understanding that he originally titled it Variations Brilliant and I'm wondering if you or one of the other commenters can confirm that. If I'm correct then Hoffman's interpretation really wouldn't be "off", would it? We are so used to hearing the Berceuse played as a lullaby.

[@TheIndependentPianist]

As far as I can gather the original title was “Variantes.” No “brilliant” attached, I’m afraid.

[@ddgyt50]

@@TheIndependentPianist Ah, thank you. Currently watching the vid on Arrau and Liszt.

[@axollo9587]

Make a vid about josef Lhévinne

[@akfsina5988]

It seems that Im not the only one who feels strange about Hofmanns some recordings.😂Great video.And I wonder whether Vladimir Sofronitsky will be included in the Great Pianists series.Similarly many people including excellent pianists love his playing but I cant work out why sometimes.

[@akfsina5988]

A good example is his 1949 Chopin Recital.

[@abusedhyena]

Sofronitsky is one of my favorites. He has such a unique and powerful style

[@TheIndependentPianist]

Sure, I'm not as familiar with Sofrontisky either, so that would be quite interesting for me as well. I haven't quite understood what the fuss is about yet, but I'm sure there is much to be discovered.

[@abusedhyena]

@@TheIndependentPianist Similarly to Hofmann, some of his later live recordings suffer due to his substance abuse but in his peak form he’s amazing. Especially in Rachmaninoff, Prokofiev, and Scriabin.

[@neilkilleen3911]

You probably know this aggregation of Hofman/Chopin ? kzbin.info/www/bejne/qYmbaZ5jjNSBeqc Mark Ainley (the piano files) posted on this recently The contrast of the micro-rubato management of maidens wish and the do-nothing berceuse is fascinating. To me the Berceuse felt like “I just can’t be bothered today” rather than “less is more” ! Are there other recordings of Hofmann and the Berceuse I wonder. There’s quite a lot of video of him too of course - he’s very compact in his physicality I think. I always find I admire his amazing technique (thst detached passage work, his precision, flexible facility, speed etc ) but somehow he does not move me. It seems very unkind to say that, and if he was playing in my living room who knows what I’d feel. Such a subjective business…

[@TheIndependentPianist]

I know what you mean… it’s taken me quite awhile to really find the Hofmann recordings that I like. That old Berceuse recording strikes me the same way, but there is a live recording from 1937 that is much more evocative. Still strangely rushed to me, but much more involved. At his best (maybe the Chopin concerti for me), there is an effortless magic and elegance, like the music is coming into being on the spot. Those are the moments I really treasure of his!

[@b1sing53]

He’s a creator of astounding effects but less effective as an interpreter . The long musical line sometimes gets broken. Character is destiny and he clearly wasn’t cut out for faithful adherence to the composer’s intentions. As a performer of encore/display pieces he was phenomenal.

[@TheIndependentPianist]

It’s interesting you say that, because Bolet spoke about hearing his Op 111 and that is was one of the crowning musical experiences of his life. Maybe he just didn’t record enough of the substantial pieces of his repertoire… certainly the 1st mvt of the Chopin B minor is pretty amazing, and actually held together much better than most performances. It’s very hard to be sure, as the actual amount of music he recorded is quite small.

[@Alex-mk2nq]

@@TheIndependentPianist once read an article by the rus/soviet pianist in which he said that Hoffmann was sensational at first, but then he stopped in his development and his interpretations became old-fashioned.

[@kakoou3362]

Anton told Hofmann that you can play like me (adding edits and effect) when you (hofmann) are at my age when hofmann took lesson from rubinstein

[@kakoou3362]

Also the reason B minor sonata recording is more on the conservative side of hofmann’s later recording is that he didnt want to give out his live interpretation for later generations to copy. you can hear that by listening to Chopin 40-1 on the test recording and compare it with other recordings of 40-1

[@TheIndependentPianist]

Yes, such a classic line!

[@TheIndependentPianist]

@@kakoou3362 Yes, it seems like he was generally more conservative in the studio as well.

[@adrianwright8685]

Don't think you mention the fact that H apparently had quite small hands (unable to reach a 9th?) and the restrictions on repertoire/playing this must have imposed and the special narrower keyboard Steinway made for him. I'd be interested to know if he used this for his recordings/concerts.

[@Duggie-fk3di]

Since music is ( might be ) thought of as a language; viz dependent on ( chronologically out of step ) device ( tempo, phrasing, modulation ) repetition etc, but never absolute ( ie national geographic form ) then it is mandatory that the execution should not lose either the audience's appreciation or the composer's intent; particularly by extremes of "virtuosity" ? Maybe J Hofmann took "recordings" too seriously, feeling it was his duty as an artist to create permanently insuperable performances - yet failing to recognise that there is no such thing as a "recording"; merely transducive ( transductive ? ) mimicry that naturally induces in the very young the transcendental desire to throw up ?

[@uriahkremer_piano]

Sorry but I find this extremely shallow analysis. Hofmann crazy colors, the way he builds a whole world from every piece he plays, the amazing rythms, singing tone, layers of melodies. Not only Rach but most ot the pianists of his time referred to him as the greatest among his generation.

[@germanchris4440]

To emphasize this one point: What Hofmann has done there with Chopin's Nocturne is simply disgusting. Generally speaking: Even in today's "new age", which has been re-educated to a pathological level of tolerance and consideration, in which clear statements are supposed to be morally forbidden, there is nothing to relativize in many cases. Basically, there are (many) things that need to be clearly criticized or judged; either that way, or you can let it go altogether ("to each his own, I don't want to step on anyone's toes, sorry in advance" - how pathetic, the insane "moral" code of this age we have now arrived in). - Personalities, if you still want to be such, find your rough edges that characterize you naturally and God-given, otherwise you are not really worth listening to, despite all your expertise. People (especially the younger ones) are in no way doing any good by going along with today's "zeitgeist"!

[@adrianwright8685]

14:28 berceuse - pronounced: 'ber sirs' (not 'ber soose' !!)

[@adeemuff]

21:40 Cole, before this moment, you've mentioned his familial problems and alcoholism, then you've presented this excerpt. You've dubbed it erratic and not really fitting to the music. My opinion is a tad different. I do realize that Chopin's nocturnes are mostly written for the right hand and all the bells and whistles in its part. However, in this isolated case, one can observe that the pianist resorted to keep the rhythmic pace in the left hand rather than the embellishments in the right hand. You can literally measure the time. Hofmann chose to keep the tempo straight and didn't care much about the (implied) rubato in the right hand. I perceive this as a stylistic choice rather than an obnoxious misdemeanor.

[@abbottklavier1]

Hofmann said on more than one occasion, "By our LH, we know them", meaning that the idea of pulse was often directed in half or even full bars the RH being free in true bel canto style and playing with greater freedom WITHIN the beats. This was not only typical of many recordings by the great artists from early 1900's on, we also hear this today with some truly magical artists who play with the same musical spirit albeit in an interpretively more contemporary concept.

[@RichardWagner-hi4zn]

Rubinstein was a virtuoso, not a virtuosi. One mafioso, one virtuoso. lol