The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1898-03-10
JOSEF HOFFMAN GROWN.
The Former Boy Pianist Proved to Be
Genuine Musical Genius.

Ten years ago this next May when Josef Hof-
marvellous child. a yeritabie son of Violet
crowned Harmony mother of the Muses. With
him went the anxious love of thousands who
had heard the wonderful boy play had sat at
his feet and given him the willing worship that
is due to genius. In the leave-taking there was
much real sadness, for it feared that he
would never return. Or if he should, 1t would be
disappointment, as destroyer OF hopes and
Illusions few wise chung to optimism
saying that a genius such his could not be
held back, and if he lived and kept his health,
greatness awaited him.
He returned to Germany and went to the great
Rubinstein a pupil. He worked as only a
genius can work in the labor he loves. Long
years of hard study he gave to his beloved art
with all the devotion Of his heart and soul, and
finally he has returned to us to show what he
has done. When the slight, boyish figure, clad
in il-httng clothes, appeared on the stage of
the Metropolitan Opera House last night there
was a warm and cordial burst of applause from
the immense audience that had gathered there.
1t greeting for auld lang syne, but in the
minds of nearly all was a bit of skepticism He
no longer a marvellous child, but a man.
Though measured by years he was still a boy,
in art he must stand now as man, judged by
the standards set by other men, great men. And
SO, while the applause was cordial, 1t was not
encouraging. 1t lacked the subtle sympathy that
perfect. For once a mixed New York audience
preserved a proper state of mind. They were
open and passive ready to praise if praise there
should be, and ready, perhaps not to condemn,
for the recollection of the child and his work
still strong in their hearts, but, had he
failed had he shown little growth to accept it
the inevitable, with feelings which would have
been more of sorrow and disappointment than of
condemnation. Probably nine of ten came
prepared to be disappointed, and the other tenth
1t is dificult for anyone to restrain himself and
keep from extravagances in speaking of Josef
Holmann's performance. He was a marvellous
child he has become a wonderful man, for de-
No other standard will fit him, If indeed he has
not established for himself new one, an all
childhood as seen by the most doting woman or
by the wisest man has been redeemed tenfold.
He has returned to us great artist, and, as
judged by Others in seeming full maturity of
his powers. When this is said, and remember
that he is but twenty what an illmitable pros
pect of future attainment lies open before him.
Can not say with almost absolute safety that
Rubinsteins successor the genius of the
piano-forte has come?
To tell in cold print what the boy did last
night is out of the question To appreciate him
one must hear him, drink deep of the mar
velouS tones he draws from his instrument, feel
instinctvely that he is not playing the piano,
but is part of it; or, perhaps better that the
becomes living being The Rubinstein concerto
in d minor which he chose as the vehicle in
which to renew his acquaintance with New York
was excellently fitted to show his supreme merits.
Full of rich, glowing color. a wealth of inven-
ton ana beauty or melody, in the hands OF a
master 1t not only shows superbly the possibil-
tiles of the piano which the composer knew
well and SO intimately, but allows the player to
run through the whole gamut of emotional color
and at the time show all the artistry at
his command. And HOFFMAN, had learned it
der the eyes of the composer.
At the first great chords that proclaim the in
PRODUCTION it seemed as IL an electric current
swept through the audience, waking it from its
passive state, telling it to be keen; that there
was coming something far beyond the ordinary.
Once aroused, the keen attention never slackened,
and when Hofmann finished the first movement
with that tremendous fortissimo taken at
terrific tempo, there silence of an instant
braves such cold New York rarely hears.
Such matchness tonal color, such a marvellous
singing quality. such touch, now as hard and
cold blued steel, and again as great and COM
manding as a diapaSon of organ; now as soft
ana soothing as velvet, ana again as limpid and
clear as running water, these things Holman
showed us he had, in a supreme degree. The
deep poetic insight into and the loving apprecia-
ton OF the content of the music were in the ma
ture of a revelation, and through it all was a
masculine virility. mighty strength and reserve
power-yes, a sternness of Self-restraint-that
scattered to the winds every vague suspicion of
sentimentality. In the slow movement he ex-
hibited variety of tonal color that was simply
bewildering in its beauty. In his hands the
piano had dozen different and distinct voices
that soothed and comforted, cajoled and battered,
seduced and beWitched the senses FINALLY in
the allegro, came again the commanding fire,
dash. the marveously forceful power, the superb
precision, the exciting velocity and the throbbing
derful.
The audience was in most intense state when
he finished and another mighty burst of applause
greeted him at the end II was genuine fntelli-
gent, real-seeing'' applause, and in return for
II he played his masters familiar Melody in F.
with a loving care and an exquisite tenderness
that gave to that old and hackneyed piece new
and palpable beauties.
Later he played four solos, Chopns c minor
Nocturne and A major Valse and Rubnstein's
BarcarolIe and Study False Notes" His
Chopin the most satisfying that we have
had since PaderewsKi, and perhaps in some ways
better than that great artists, for in Holmann's
rendering was the element of masculinity that
the great Pole sometimes lacked. AS an encore
to this group he played transcription of one
of Schubert's four-hand Marches Militaires
In appearance Hofmann is slight and boyish
looking below medium height. He has a won
derfully attractive face. with beautiful eyes and
a winning smile. His manner at his instrument
is simplicity itself. There are affectations no
mannerisms. He is absolutely and totally alb
sorbed in his playing and his earnestness and
sincerity speak for themselves