The Complete Josef Hofmann, Vol. 3 (Columbia and G&T Recordings 1903-1918 with Seven Previously Unissued Selections)

Ludwig van Beethoven (Composer), Johannes Brahms (Composer), Frederic Chopin (Composer), Dillon (Composer), Edvard Grieg (Composer), Josef Hofmann (Composer), Franz Liszt (Composer), Felix [1] Mendelssohn (Composer), Moritz Moszkowski (Composer), Ignace Jan Paderewski (Composer), Horatio Parker (Composer), Sergey Rachmaninov (Composer), Anton Rubinstein (Composer), Robert Schumann (Composer), Constantin von Sternberg (Composer), Carl Tausig (Composer), Josef Hofmann (Performer)

Product Details

• Performer: Josef Hofmann
• Composer: Ludwig van Beethoven, Johannes Brahms, Frederic Chopin, Dillon, Edvard Grieg, et al.
• Audio CD (September 1, 1994)
• SPARS Code: ADD
• Number of Discs: 1
• Label: Video Artists Int'l
• ASIN: B000003LJ8
• Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
• Amazon.com Sales Rank: #130,204 in Music (See Bestsellers in Music)

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Track Listings

Disc: 1

1. Waltz for piano No. 2 in A flat major, Op. 34/1, CT. 208

2. Waltz for piano No. 7 in C sharp minor, Op. 64/2, CT. 213

3. Waltz for piano in E minor, KK IVa/15, CT. 222 (B. 56)

4. Polonaise for piano No. 3 in A major ('Military'), Op. 40/1, CT. 152

5. Impromptu for piano in A flat major, Op. 29, CT. 43

6. Fantasy-Impromptu for piano in C sharp minor, Op. 66, CT. 46

7. Berceuse for piano in D flat major, Op. 57, CT. 7

8. Zyczenie (The Wish), song for voice & piano, Op. 74/1, CT 129: arr. for solo piano

9. Liebesträume, notturno for piano No. 3 in A flat major ('O Lieb, so lang du lieben kannst'), S. 541/3 (LW A103/3)

10. Waldesrauschen (Forest Murmurs), for piano (Zwei Konzertetuden No. 1), S. 145/1 (LW A218/1): No 1, Waldesrauschen

See all 22 tracks on this disc

Disc: 2

1. Caprice espagnol, for piano, Op. 37

2. Humoresques de concert (6), for piano, Op. 14: Minuet in G

3. Waltz-Caprice, for piano in E flat major

4. El Dachtarawan, march for piano in G minor (Miscellaneous Pieces, Book 9 'Miniatures', No. 7), Op. 93/17

5. Sanctuary (written undet the name 'Dvorsky')

6. Prelude for piano No.1 in C sharp minor ('The Bells of Moscow'), Op. 3/2

7. Prelude for piano No.6 in G minor, Op. 23/5

8. Valse Gracile, for piano, Op. 49/3

9. Birds at Dawn, Op 20/2

10. Etude No 3 in C minor, Op 120

See all 20 tracks on this disc

Editorial Reviews

Amazon.com

Volume 3 gathers Hofmann's complete acoustic Columbia 78s, including seven previously unissued sides. While Hofmann allowed a lot of leeway in live performance, he took recording seriously, both from an artistic and technical standpoint. The myriad subtleties of touch, pedaling, and articulation in Hofmann's playing come through loud and clear in these vintage 1912-1918 recordings. Each selection reveals the pianist's singing tone, extremely even fingerwork, aristocratic poise, and taste. There's a sense of purpose and proportion to the playing that belies the notion that all Romantic pianists took insane liberties. --Jed Distler

Customer Reviews

Most Helpful Customer Reviews

6 of 6 people found the following review helpful:

5.0 out of 5 stars Josef Hofmann: Wonderful performances, lots of surface noise, March 14, 2000

By	Richard Mathisen (Ambler, PA USA) - See all my reviews (REAL NAME)

For Hofmann lovers and devoted students of piano performance, this collection is priceless! For others, the surface noise will be a serious drawback. My assumption is that anyone interested in Hofmann will start by getting Volumes 1 & 2 -- the Chopin Concertos and the 1937 Golden Jubilee Recital. Beyond that, in choosing among Volumes 3 through 6, Volume 3 offers a wide range of Hofmann's repertoire in shorter pieces -- 42 tracks on two CD's. These are Josef Hofmann in his prime and the performances are marvelous. Unfortunately, they were recorded in 1912-18 (with six tracks from way back in 1903!) and the surface noise is pretty severe. Listening to them is an effort, but the effort is well worth while!

2 of 2 people found the following review helpful:

5.0 out of 5 stars Which Hofmann?, September 6, 2004

By	John Atherton (CINCINNATI, OHIO United States) - See all my reviews (REAL NAME)

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.