On stage, Hofmann is a star. His fans, especially the ladies, scream when they see him, but Hofmann never develops any mannerisms. And that’s a rarity. Pianists, who used to be treated like pop stars, enjoyed having a signature move. Arthur Rubinstein used to come on stage in a swift, brisk pace, even in his late years, and Światosław Richter would take exceptionally long steps.
Perhaps Hofmann’s trademark is the lack of a smile on his face. During recitals, he spends his breaks on solving chess puzzles. Since he has both perfect pitch and an exceptional musical memory, his collection of sheet music is rather small.
He makes numerous piano and pianola records. Paradoxically, in 1923, when technology starts progressing, he quits commercial music recording, displeased with the quality of the sound. Still, he tries to improve recording technology in his workshop.
At the age of 70, Hofmann retires from his piano career. For 11 years, he is a director of the prestigious Curtis Institute of Music, where he invites many Polish artists, including the conductor Artur Rudziński, the singer Marcelina Sembrich-Kochańska or the violinist Leopold Auer.
In the 1940s, Hofmann’s career fades, he starts having family issues and develops a drinking problem. He will still play a few important concerts, such as the Carnegie Hall recitals transmitted to American soldiers on the fronts of World War II. He dies alone, still working on new inventions.
Translated by Agata Zano