New-York tribune., 1920-01-11

is Of great value for the composers
further artistic development"
The implication that Mr.: Hoffman was
not sure of the merits Of his compost
tions and afraid to appeal for Judgment
to public kindly disposed toward him,
Is novel, to say the least. We have no
desire to question his sincerity; but does
he not realize that, unless all concerned
in perpetrating the hoax are obsessed
with the prevalent disposition not to
attach Importance to anything in art.
he has put them and himself in an un-
pleasant quandary, and that henceforth
every novelty (which he announces will
be viewed with suspicion? His audiences
will be sure that they are hearing only
the compositions with which they are
familiar. Naturally, this will leave him
an easy row to hoe-the same Bach,
Beethoven, Chopin and Rubinstein or
List. The circumstance is deplorable.
Mr.. Hofmann's Concerto
About twelve years ago the writer
made public the circumstances sur
rounding the rescue of Mr.. Hofmann
from the dangers which surrounded
him when he first appeared in America
as prodigy. Not long after this pub
lication Mr.. Hoffman, played a piano
forte concerto of his composition at a
Philharmonic concert. 1t was on Feb
ruary %, 1908. In view of the
"Dvorsky" incident we think that his
admirers Chat is, all who hear his
playing, for there are none to frown
disapprovingly on him) will read with
interest what appeared in The Tribune
at that time:
"1n the days Of Mr.. Hofmann's pre-
cocious childhood we used to hear some
Of his music. Then he was in the hands
Of managers who were exploiting him
for their own gain and regardless of
the consequences to him. The details
of the story Of how he was preserved
Gently been told by The Tribune for
the first time, and there would be no
need to recall the interesting tale we're
it not that his appearance yesterday
awakened again the feelings of graft
tude which must fill every music lover
at the thought that his genius was per-
mitted to ripen. He grew to be not
only virtuoso, but musician. We
do not believe that he has yet reached
the fuliness OF his powers either as an
interpreter or creator. He must have
composed much, for the concerto
which he produced yesterday was the
third Of five which have come from
his pen. 1t is significant that while
we heard the music OF. the bow Of
ten we have hitherto been denied that
Of the man Of thirty. Plainly, Mr..
Hoffman, is an artist gifted with that
rare but extremely valuable intellectual
quality, self-criticism. We fancy that
it was not of his own volition that his
days list; yet it was right that his
admirers should be privileged to hear
IT. 1t is not large work in any sense
1t is not impressive in melodic CON
tent or structural workmanship. It
discloses want Of technical knowledpe
Of the orchestra. But it contains ev;-
dence of an artistic nature that are
gratifying in these days of shifting
ideais, laborious cropping and vicious
pretense. Music still rests on its
fundamental elements in the cstima-
tion Of Mr.. Hofmann. If he does not
handle the forms like a master he re-
spects them at least. If his imagina-
tion is not mated with equal technical
sklll-with a measure of learned and
ingenious invention sufficient to build
STRUCTURE at once large and symmetrical
1T IS at least fresh and ingenious.
The weakness of the concerto (it
is in A minor) disclosed itself more ,, in
the development. of the ideas than in
the ideas themselves Overlooking the
paucity and ineffectiveness of the or
chestral introduction, there was a fine
promise In the principal subject of his
nrst movement, melody Of Slavic
foiksong type, but the promise was not
!uiniied until the subject was presented
IN q sonorous tKtti which turned it into
pompous march Ia Hongroise; but
nsving reached this climax the move
ment came abruptly to an end. So
with the other movements. In all there
might profitably have been a better
proportion between the expository and
illustrative portions; but who would
De SO unwise and ungracious as to fault
composer who quits writing when
ne reels that he has nothing more to
say such confluence is too rare a
quality in these days Of technical
vir5posoship. to be rebuked Mr.. Hof-
mann played his music with much re-
serve, almost diffidently, it seemed. and
bore the honors which the audience
snowered upon him with modcsty."
His Other Pieces
We did not hear either the "Chro-
maticon" or "The Haunted Castle"
put from what We read in the news
papers we conclude that during his 80.
Journ in Seal Harbor, Ne. (Michel
Dyorsky's San Sebsstian), Mr.. Hof-
mann has abandoned some of his ideals
and surrendered to inaueness Of tho