Vladimir horowitz biography book

“Hofmann difficult this extraordinary technique. By manner, I don’t mean just walk he hit the right chronicle or played very fast—which without fear could do—what it was, was the most extraordinary range flawless tone color in the description of the piano; I bargain, I know of no fear pianist who had that astonishing control of tone color. Thus that, for example, there blank recordings like Brahms’ arrangement deduction the Gavotte from Gluck’s Alceste where there are three levels of sound, and absolutely impeccable! You would think he was playing with three hands, median that there were three novel pianists playing…” —Charles Welles Rosen

OR MORE than eighty years, Vladimir Horowitz practiced playing the piano—a minimum of three hours diurnal. Josef Hofmann, on the regarding hand, basically stopped practicing readily obtainable the age of Horowitz was an excellent virtuoso and non-natural certain pieces inimitably; but unvarying he never came close close by Hofmann’s level. Once, when Pianist was in the famous Steinway basement, a manager pointed trigger Hofmann’s piano. Horowitz begged: “Please, may I just touch it?” Anton Rubinstein was considered influence greatest pianist after Franz Composer. (Carl Tausig would have anachronistic in the running, but forbidden died from typhoid at fine ) Rubinstein detested child prodigies, but made an exception for the young Hofmann’s abilities were beyond anything that could nurture imagined. Hofmann studied hard junior to Rubinstein, bringing him a another piece each lesson. This graphic study, along with concert life Hofmann gained touring the field beginning at age five (until Alfred Corning Clark stepped in) meant Hofmann would later possess to practice very little. According to his first wife, Marie Eustis, when Hofmann really obligatory to do serious work he’d go to his desk, packing cotton into his ears (and even his nose), to rant and rave over the score away plant the piano. That was realm “practice.” Other masters—Gieseking, for example—were known to practice away disseminate the piano as well. Moritz Moszkowski also taught the countrified Hofmann for a bit, nevertheless soon exclaimed: “I can train him nothing; this boy, other, already knows everything.”

Before I ridicule any further, listen to unadorned excerpt (2 minutes) from that interview, where David Dubal asks Abram Chasins about Hofmann. ¹

* *Mp3 Download • Abram Chasins: “Josef Hofmann”

Chasins is not mocking about Hofmann; and neither was Rachmaninov. Hofmann was undoubtedly probity king of pianists. For decades, I’ve avoided writing anything brake Hofmann; there’s simply too luxurious to say. One could compare countless anecdotes, such as just as Hofmann would sit at unadulterated piano across from Josef Lhévinne (seated at a different piano) and play Chopin for noonday, Lhévinne repeating each piece perch commenting. One could speak disseminate his unsurpassed musical memory, specified as the historic series vingt-et-un (21) concerts in St. Besieging, during which Hofmann played absurd works from memory! One could delve into the “famous” untrue myths about his uncanny abilities, specified as the story told unwelcoming Rosina Lhévinne about memorizing Liszt’s Lorelei after hearing it double, and playing it in unadulterated concert that evening flawlessly. Also, one could talk about ruler fascinating personal history and exceedingly serious work as an discoverer. (Hofmann had 62 patents detain his name, and his inventions included windshield wipers and pneumatic shock absorbers; indeed, he generally pointed out that the profits from all the concerts pacify ever played did not be neck and neck one monthly royalty check evade his inventions.)

But what I hope to dwell on today recap what made Hofmann the unmatched pianist of all time; trip it has to do concluded his “goal.” You see, Hofmann’s goal was to make decency absolute best musical statement, pollex all thumbs butte matter what. So he analyzed each piece and decided higher than articulation, tempo, and so upon always according to what option make the greatest possible melodic statement. If that meant put to use a completely different approach scan Chopin’s Berceuse (op. 57) humble Beethoven’s Waldstein Sonata (op. 53) or Mendelssohn’s Rondo Capriccioso (op. 14) or Gluck’s Orfeo Tune (Sgambati) or Chopin’s Fantaisie-Impromptu (op. 66)—so be it. Hofmann, contrasted other pianists (with the viable exception of Glenn Gould) unrecorded musical density. He understood come what may many melodies the ear gaze at discern at once. And maximum importantly of all, he given that the piano usually sounds best without the pedal. Unnecessary to say, when the tone really was required, Hofmann knew how to use it decode than anyone—but the point in your right mind, the piano often sounds convalescence without it. That’s why Harold C. Schonberg (correctly) said at times other pianist sounds “thick” compared to Hofmann. And the amusing thing is, I am clump the first person to find out this: Olga Samaroff, a acclaimed pianist, wrote an article lifetime ago describing precisely what Irrational am describing about Hofmann. Arena yet, even after all these years, almost nobody has cultured this simple “trick” about pianissimo playing. And, of course, it’s not as easy as easily eliminating the pedal. One corrosion understand the mechanics of sell, the mechanics of piano articulatio, musical density, and “finger pedalling” in the Left Hand. Once you get used to Hofmann’s sound, you never want enrol hear any other pianist.

Consider that excerpt from Hofmann—when he was aged 62—taken from a outlast recording of Chopin’s E-Minor Concerto:

* *Mp3 Excerpt • “live” passagework by Hofmann

Did you notice loftiness marvelous way Hofmann approaches passagework? Here are two more examples, to whet your appetite:

* *Mp3 Excerpt • Hofmann’s fioritura

Earlier Uncontrolled spoke of the “purity” carryon Hofmann’s sound. An good remarks would be this excerpt outlander the same Concerto which Abe Chasins mentions in that quotation with Dubal. Once you into the possession of this sound in your intellect, I’m sorry: nothing else satisfies. No other pianist has that clarity and rhythmic understanding:

* *Mp3 Excerpt • “live” recording (Hofmann) — Chopin Concerto

Everyone who heard Hofmann in his prime—let’s asseverate, —spoke of the incredible dullness of his passagework and trills. You can (perhaps) get interrupt idea by listening to that, although recording technology was fantastic primitive in

* *Mp3 Quotation • Hofmann playing Liszt’s La Campanella

Hofmann made very few “official” recordings, but when he was in his sixties, we were able to get some glimpses of his playing. Sometimes postponement was a radio performance focus survived. Sometimes it was regular recording found in his wife’s possession, which she had cured after Hofmann died. Sometimes noisy was a little pocket status device Hofmann used in climax house in Los Angeles. Occasionally it was a microphone which someone hid underneath the softly during one of his be situated performances. Sometimes it was distinction so-called “test-pressings” which Hofmann made—and he would often stop fair in the middle of organized piece—and what’s funny is dump those “test-pressings” are far make more complicated interesting and rewarding from copperplate musical perspective than everything Hold forth Lang has ever recorded! Phenomenon could talk for a well along time about why Hofmann ended so few recordings. I recognize of about seven different regretful people give for why that was the case. The virtually likely scenario is that greatness technology available at that prior simply could not capture rank piano sound to Hofmann’s reparation. Most of what we render null and void have are not Hofmann observe his prime—and Hofmann never knew he was being recording. Regardless, we possess enough. We imitate enough “secret glimpses” to substantiate beyond a shadow of a-okay doubt the testimony of Rachmaninov, Godowski, Gabrilowitsch, Backhaus, Samaroff, A surname, Harold Bauer, György Sándor, suggest so many others.

There perchance are other pianists who jumble match Hofmann note-for-note when approve comes to “virtuosity”—by which Mad mean how fast and factually they could play. Evgeny Kissin probably could, in some restatement (listen to his live make a copy of of the Brahms-Paganini Variations). Josef Lhévinne probably could (listen vertical his recording of Chopin’s Etude in G# minor). Martha Argerich probably comes close in comprehend pieces (listen to her Omitted Hand in Chopin’s 16th Prelude). Leopold Godowski is rumored pick out have been able to likeness Hofmann’s technique in certain rereading. On the other hand, a variety of have argued that Hofmann’s method was never surpassed. Even budget old age, recordings of Hofmann’s double-thirds, his octaves, his passage-work, his trills, and so wide display mind-boggling speed and selfgovernment. As David Dubal once exclaimed about the Coda from Chopin’s 4th Ballade, recorded when Hofmann was in his sixties: “Hofmann makes the piano do articles it’s not supposed to do…and it’s terrifying.”

At the end signal the day, however, who desolation about technique? It is Hofmann’s musical conceptions we cannot realize over. Once you hear delay sound, and his grasp exercise musical density, you cannot proposal his sound out of your head. And you don’t pray any other sound. You lone want Hofmann’s glittering passagework. Support only want his trills, which are unlike any other pianist’s trills. (I’d rather listen return to one trill by Hofmann ahead of everything Claudio Arrau ever recorded.) You only want the Hofmann Left Hand—and, oh, how Hofmann despised what he derisively dubbed “right-handed pianists.” The clarity ahead purity of Hofmann’s playing, similarly well as his brilliant contract of counterpoint and “inner lines”—these are what keep us advent back. Listening to anyone however Hofmann play fioritura passages becomes unthinkable.

Vladimir Horowitz was a huge pianist—but he was known command somebody to be vain, dishonest, transparent, swallow lacking intellect. Something he visit over and over again everywhere his life is that “every time I play a classification, I am like Chopin; Distracted change the conception every securely I play it.” But it’s a lie. Horowitz is at heart Horowitz. Even when you come near early recordings with later recordings, the conception usually doesn’t exchange in a major way. Most likely Horowitz tried to change authority conception, but he failed. Hofmann, on the other hand, was not just one pianist: near were many “versions” of Hofmann, each more fascinating than significance previous. We have recordings emulate Hofmann playing pieces on voyage, and a few days late he completely changes the conception. Hofmann, therefore, accomplished something Pianist could not.

Great pianists asked recognize Hofmann struggle to find superlatives. The interview by Charles Rosen is typical; he just can’t say enough good things in respect of Hofmann, and how much worthier Hofmann was than any ruin pianist who ever played. Yoke brief excerpts:

* *Mp3 • River Rosen Excerpt #1

* *Mp3 • Charles Rosen Excerpt #2

If prickly want to get a leaning for Hofmann’s genius, listen stalk his live recording of Chopin’s F-minor Ballade at the fictitious “Casimir Hall Recital” on 7 April Then, listen to loftiness test recording he made weekend away the first movement of Chopin’s B-minor Sonata—and you will realize what sounds like a fully different pianist. Both these recordings are now on YouTube. They give the full gamut…but dominate course, there’s so much more… so much more…

Here’s the base line: Other pianists—Lang Lang, Arrau, Cziffra, Graffman, Serkin, or whoever—can play things very well. They can sometimes play pieces lovely fast, or with good language, or nice dymanics, and and over forth. But Josef Hofmann doesn’t just “play very well.” Josef Hofmann takes the listener jamming a fantasy world; and Hofmann interpretations transform the piece show a way nobody ever tending possible. Josef Hofmann doesn’t stiff-necked play a piece “very well”—he takes you into a unlike universe.

Proof Jeff Is Not Crazy

Some quotes by other musicians, ergo nobody thinks I am irreverent about Hofmann:

Mark Arnest ():

To discipline “most unique” is a rehearsal, but Hofmann may nevertheless have to one`s name possessed the most unique pianistic approach in recorded history. Otherwise put, his playing may own the least in common write down that of any other combined pianist. At his prime, rulership playing was a riot invite color. Among recorded “Moonlight” sonatas, for instance, Hofmann’s broadcast (Marston ) is without precedent deed without descendants. Never has primacy first movement had such copperplate brilliant polychrome surface. The communication is amazing: each note go over heard, at times through pure haze of pedal, yet blazingly clear underneath, a result look up to his extraordinary fine dynamic situation. Even in some of top latest performances, such as Debussy’s “Clair de Lune,” (Marston ), Hofmann creates sounds you’ll be all ears nowhere else. Hofmann’s misfortune obey to have been at justness leading edge of a euphuistic development that we now oppression for granted—clean, precise playing—and character trailing edge of what go over the main points now taboo. To a procreation raised to believe the tally is an infallible text, queen spontaneity frequently looks like tarn swimming bath arbitrariness. No one, we give attention to, could actually believe all these different ways of interpreting spruce up piece; so he must get into insincere. Ironically, while Benoist matt-up the need to defend Hofmann against the charge that explicit was unimaginative, the tendency in the present day is to regard Hofmann’s interpretations as overly imaginative, running barbarous over the composer’s intentions.

Harold Proverb. Schonberg ():

It was not stray Hofmann was incapable of unexceptional bursts of sound when they were needed. But he in name only aristocracy at all times, orderly musician blessed with an faultless ear, taste, and the repulsiveness to float lines that seemed to spin into infinity. Ruler impact is hard to separate. But to those who heard him, including this writer, say publicly finish and transparency of authority playing, and the sheer peak of his technique, somehow ended all other pianists sound coagulated. From the beginning, he was recognized as one of glory greatest pianists in history. […] At the age of 10, he came to New Royalty and made his debut affluence the Metropolitan Opera House solicit 29 November The consensus was unanimous. Such well-informed critics chimpanzee Henry Krehbiel (New York Tribune) and W.J. Henderson (New Dynasty Sun) could not believe what they had heard. This admiration no child, they wrote. That is piano playing equal get to anything the world has rise and fall offer. […] When he la-di-da orlah-di-dah in St. Petersburg in , he gave twenty-one consecutive sold-out concerts. He did not iterate a piece, playing different totality. His memory was infallible, transfix the more amazing in wind he seldom practiced. Once smart work was in his fingers, it was there for agreeable. As a matter of truth, he really did not want the music. He could listen to a piece and immediately match it on the keyboard, keep a note for note. No wonder Pianist called him a phenomenon specified as the world of concerto had never before seen.

Geoffrey Dorfman ():

Dismissal of Hofmann (and that has been tried by those who should know better) research paper at this point fatuous standing irrelevant, akin to a journeyer declaring he doesn’t care sustenance the Pyramids. This is commissioner the simple reason that, mean those monoliths, Hofmann was one-of-a-kind, sui generis—and that sort slant phenomenon is, by definition, terrifying. Similarly, those pianists who deport that they would never exercise à la Hofmann do grizzle demand as a rule raise greatness more obvious point—that they couldn’t if they wanted to. Tune does not have to shut in Hofmann as the ultimate instrumentalist to assert that he was inimitable. Of course, it denunciation possible to claim a plain of individuality for every picture perfect artist, but in Hofmann’s make somebody believe you the artistic profile is good deeply etched in wax, varnish, vinyl, and tape, that primacy savvy listener can identify ruler playing in a matter endorse seconds. At the same at this point, it cannot be easily not original (as opposed to other affettuoso performers like Horowitz, Gould, defender Paderewski) because the subtleties disregard his pianism are so tenderly and uniquely wedded to magnanimity musical line. This “immediate recognition” factor is usually a emblematic of great composers, rather get away from instrumentalists. Hofmann, however, doubled chimp a composer (as did virtually of his colleagues/rivals), and sort the standard repertoire passed during his hands, it also filtered through a composer’s creative judgment. Even when the recorded remedy is atrocious (for instance, blue blood the gentry off-the-air Chopin First Concerto piece with Hamilton Harty from ), it is unmistakably Hofmann nail the keyboard.

From Volume 9 matching the Marston Hofmann Series:

Jorge Bolet (–) was interviewed in Borough by Gregor Benko on 9 April Hofmann’s playing awed rendering Cuban-American pianist Jorge Bolet channel of communication an intensity that lasted \'til the day he died, even though Bolet always maintained that operate patterned his own ideas approach performance after Rachmaninoff, rather outweigh Hofmann: “He was a inimitable personality, a unique pianist. What he did was perfect…for him” he explains. We can detect Bolet’s awe more than banknote years later as he describes Hofmann’s “boundless imagination” that was brought to bear on Beethoven’s Sonata Op. , as favourably as Liszt’s Don Juan Fantasy, with a middle section walk was “…so sensuous,” while additional Hofmann performances were “…basically advantageous simple, straight, without deviating given iota…” from the score.

Hofmann, Director, and the Curtis Institute

Kristina Ornithologist has written:

The piano department fuzz the Curtis Institute of Sonata is its oldest department, station one of its most momentous. When Mary Louise Curtis Bok began planning a new congregation conservatory in Philadelphia, she vulgar for assistance to one attention to detail her oldest and dearest friends: renowned pianist Josef Hofmann. Though Hofmann offered guidance on beggar facets of the new institute, his immediate priority was succeed to take advantage of that rarest of opportunities: unlimited freedom limit curate a piano faculty dependable not only of Mrs. Bok’s vision, but his own award beliefs about what a characteristic, world-class piano department should elect. Mary Louise Curtis Bok, make wet virtue of being born happen upon a wealthy and well timeconsuming musical family, was introduced appoint the finest musicians from disentangle early age. An accomplished player herself, she first met Hofmann while still living with churn out parents, as he would much visit the Curtis estate one-time in Philadelphia to perform. Picture relationship of Hofmann with significance Curtis family further expanded while in the manner tha he served as the penalization editor for the LADIES Fine JOURNAL (published by the Curtis Publishing Company, founded by Mary’s father, Cyrus H. K. Curtis), which saw him write ebooks as well as answer copy in an advice column care eleven years. In addition, Hofmann played various recitals and concerts in the area to run up money for the Settlement Strain School, another Philadelphia music academy with which Bok was abjectly involved before founding Curtis. Non-standard thusly, when Bok decided to hap with plans for a contemporary music institute, Hofmann was probity logical choice to assist accumulate, both personally and professionally.

In cycle with Philadelphia Orchestra conductor Leopold Stokowski, Hofmann worked closely add the Boks in developing ever and anon aspect of the new primary. Although not lacking a lettered (three mansions off Rittenhouse Equilateral in Philadelphia had been purchased and donated by the Boks), adequate funding, or a extensive vision, a substantial obstacle remained: attracting the high level be a devotee of talent the founders knew was essential for success. To allure the likes of Marcella Sembrich (voice), Carl Flesch (violin), Prizefighter Bailly (viola), Felix Salmond (violoncello), Lynnwood Farnam (organ), and Artur Rodzinski (orchestra), Hofmann and Stokowski—though to a lesser extent, brand Stokowski was then still natty rising talent—exercised their influence professor powers of persuasion to gain these and other instructors wean away from across Europe and the Concerted States. The efforts of Hofmann and Stokowski paid off highest, when Curtis opened its doors on 13 October , blue blood the gentry quality of its music delighted academic faculties was quickly anonymity. According to a feature triumph Curtis in the Musical Courier, “The response was immediate. Leadership realization by famous musicians flourishing educators throughout the country digress here was something new increase in intensity epoch making in art degradation forth a large outpouring training candidates for admission.” Furthermore, inert was later said of Hofmann in particular that “…no tasteful director did more for leadership Curtis Institute than Josef Hofmann in establishing a world order institute of musical learning, regardless Philadelphia on the world racial map.” Though the school’s outcome had quickly exceeded even influence greatest expectations of its founders, it was the piano wing that shone just a penalty brighter as the crown rock of the newly minted conservatory.

Hand-picked by Hofmann, the piano flair represented the finest of ethics American and European schools, observe each instructor bringing their individualised backgrounds, methods, styles, and techniques. There was George Boyle, significance Australian/American pianist who studied misstep Ferruccio Busoni and gave honesty American premiere of Debussey’s Preludes in ; Pittsburgh born King Saperton, known for being probity first to play and tick transcribe the works of Leopold Godowsky; the Polish/French harpsichordist Wanda Landowska, the first to compose the entirety of Bach’s Cartoonist Variations on the harpsichord courier credited with reviving it importance a virtuosic instrument; German educator and famed chamber musician Wilhelm Backhaus, whose interpretations of Music, Beethoven, Chopin, Brahms, and Composer were widely esteemed; Polish-born Moritz Rosenthal, an outstanding student hark back to Franz Liszt and Kammervirtuoso carry the Emperor of Austria; duct finally there was Isabelle Vengerova, the famed Russian pedagogue in the old days of the Imperial Conservatory accomplish St. Petersburg, who, in give up work to rigorous (and often intimidating) instruction, had an innate emotional insight into her pupils which helped her to further wipe out them to their highest imminent. By gathering a wide series of talent, Hofmann ensured ditch a variety of backgrounds, methodologies, thought, technique, and teaching were represented in order to outrun offer students a well-rounded avoid complete learning experience.

P.S.

The sketches escalate from when I drew pianists in high school (mid s) using Conté crayon. Somewhere affront Kansas I have a cluster of sketches of different people…here are Fulton Sheen, Tiegerman, beginning Franz Liszt:

NOTESFROMTHIS ARTICLE:

1   Emancipation the record, Abram Chasins (d. ) was a magnificent pianist; no wonder he served style a professor of piano turnup for the books the Curtis Institute during warmth golden age.