Hofmann’s Concert
The spoiled child of the world’s pianism—Josef Hofmann—played Schumann’s A Minor piano concerto with the Chicago Symphony Orchestra at two concerts during the first week in November. Both performances were masterly and splendid in musical values.
Since he left his cradle, Hofmann has had the world sitting at his pianistic feet and fingers so that he has come to take the most vigorous and sincere homage as a matter of fact; and, perhaps for this reason, he occasionally fails to merit it. He is insolent to his worshippers and furious with his critics. Long and copious praise has gone to his head. His insolence is less poetic and far less handsome than Paderewski’s, and Hofmann’s playing needs to reach magnificent proportions before one is able to forget his bad-boyish disposition.
But one does forget. For his musicianship and key-wizardry are things of great beauty. Despite the fact that his scorn sometimes leads him to abuse the piano, in the way of crude smashing blows, there is (in the Schumann work, for instance, which displays him at his best) never a moment in which he loses a rythmic grasp that is deeply satisfying. And when he chooses, and doesn’t lose his temper, he can bring forth remarkable tonal beauties from the box of wood and wire. There is an admirable drive in his art. It is vital and powerful. One’s regrets are swallowed and quite forgotten in listening to his artistic qualities of tone, rhythm, piano-color, and, in fact, of genuine music.
Herman Schuchert.