page_title: Josef Hofmann
section_title: Technique and style
hierarchical_section_title: Josef Hofmann / Technique and style
caption_attribution_description: English: The former Metropolitan Opera House (39th St) in New York City. A full house, seen from the rear of the stage, at the Metropolitan Opera House for a concert by pianist Josef Hofmann, November 28, 1937.
context_page_description: Josef Casimir Hofmann was a Polish American pianist, composer, music teacher, and inventor.
context_section_description: Hofmann's views on technique and musicianship are explained in his book Piano Playing with Questions Answered.
  He had small but exceptionally strong hands. Steinway eventually built for him custom keyboards with slightly narrower keys (pianist/critic Stephen Hough has commented on how Hofmann's mechanical understanding of the Steinway piano action set him apart from all other pianists.)
  His concert instruments had subtle action changes for faster repetition, two pedals rather than three (he liked the older Steinway trap work geometry), faultless regulation, and were accompanied on tours by his own recital chair, built with a short folding back and a 1½" slope from rear to front. After playing Hofmann's special concert instrument in the Steinway New York basement, Gunnar Johansen reported that the piano had the biggest sonority of any he had ever tried.
  Unlike Rubinstein, Hofmann sat quietly at the piano, striking the keys in a kneading manner. His finger staccato was at the time unequaled, as was his orchestral sonority. According to his student Nadia Reisenberg, he continuously used a combination of finger pedalling and foot pedalling. The New York Times critic Harold C. Schonberg said Hofmann had all of Leopold Godowsky's technique, a claim approved by Godowsky himself. By his own admission, Sergei Rachmaninoff, in his 40s, prepared for a career as a concert pianist by practicing over 15 hours a day with the goal of attaining the level of Hofmann's technique. When pianist Ralph Berkowitz was asked if Vladimir Horowitz had the greatest technique of all the pianists he had heard, Berkowitz replied that Horowitz indeed was the supreme master of the technical parts of performance, but one older era pianist was his equal - Hofmann.   
  Hofmann's approach and style can be summarized by his motto "an aristocrat never hurries". 
   He often stated that Rubinstein and Moriz Rosenthal were the only pianists that influenced his art, and admired singers Mattia Battistini and Marcella Sembrich. He adopted a more demonstrative style in live performances but a subtle and restrained style for his studio recordings; in both cases, he mostly adhered to the printed score, occasionally doubling left-hand octaves, and shunned sentimentality. He put spontaneity rather than structure foremost and admitted to Rachmaninoff that "I do not know how to build a composition ... occasionally, it happens to sound well". Schonberg wrote that among Hofmann's contemporaries, only Godowsky had the finish and refinement of Hofmann but lacked Hofmann's color, fire, and "red blood", while only Ferruccio Busoni and Rachmaninoff were ever mentioned by contemporaries as Hofmann's equals. After hearing a performance of Chopin's B minor Sonata by Hofmann, Rachmaninoff cut that piece from his own repertoire saying "not since Anton Rubinstein have I heard such titanic playing".
  Suggested examples illustrating Hofmann's style:
  Rubinstein's Contradanses
  Chopin's Andante Spianato and Grande Polonaise Op.22
  Chopin's Ballade Op.23
  2nd Movement from Beethoven's Sonata Op.31 No.3
  Rachmanionoff's Prelude Op.23 No.5
  Liszt's Hungarian Rhapsody No.2
  Stojowski's Caprice Orientale (dedicated to him by Sigismond Stojowski).
caption: Josef Hofmann playing solos in the Metropolitan Opera House gala on November 28, 1937, the 50th anniversary of his American debut.
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