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Josef Hofmann 1 Josef Hofmann Josef Casimir Hofmann (originally Józef Kazimierz Hofmann; January 20, 1876 February 16, 1957) was a Polish-American virtuoso pianist, composer, music teacher, and inventor. Biography Josef Hofmann was born in Podgórze, near Kraków, Austria-Hungary (now Poland) in 1876. His father was the composer, conductor and pianist Kazimierz Hofmann, and his mother the singer Matylda Pindelska. A child prodigy, he gave a debut recital in Warsaw at the age of 5, and a long series of concerts throughout Europe and Scandinavia, culminating in a series of concerts in America in 1887-88 that elicited comparisons with young Mozart and young Mendelssohn. [1] Anton Rubinstein took Hofmann as his only private student in 1892 and arranged the debut of his pupil in Hamburg, Germany in 1894. Hofmann toured and performed extensively over the next 50 years as one of the most celebrated pianists of the era. [2] In 1913, he was presented with a set of keys to the city of St. Petersburg, Russia. As a composer, Hofmann published over one hundred works, many of those under the pseudonym Michel Dvorsky, including two piano concertos and ballet music. He made the United States his base during World War I and became a US citizen in 1926. In 1924, he became the first head of the piano department at the inception of the Curtis Institute of Music, Philadelphia, and became the Institute's director in 1927 and remained so until 1938. He was instrumental in recruiting illustrious musicians such as Efrem Zimbalist, Fritz Reiner, Marcella Sembrich, and Leopold Auer as Curtis faculty. Hofmann's pupils included Jean Behrend, Abram Chasins, Abbey Simon, Shura Cherkassky, Ezra Rachlin, Nadia Reisenberg (see [3] ), and Harry Kaufman. While not a pupil, Jorge Bolet benefited from Hofmann's interest. In 1937, the 50th anniversary of his New York debut performance was celebrated with gala performances including a "Golden Jubilee" recital at the Metropolitan Opera, New York. In 1938 he was forced to leave the Curtis Institute of Music over financial and administrative disputes. In the years from 1939 to 1946, his artistic eminence deteriorated, in part due to family difficulties and alcoholism. [4] In 1946, he gave his last recital at Carnegie Hall, home to his 151 appearances, and retired to private life in 1948. He spent his last decade in Los Angeles in relative obscurity, working on inventions and keeping a steady correspondence with associates. [5] As an inventor, Hofmann had over 70 patents, and his invention of pneumatic shock absorbers for cars and airplanes was commercially successful from 1905 to 1928. Other inventions included a windscreen wiper, a furnace that burned crude oil, a house that revolved with the sun, a device to record dynamics (U.S. patent number 1614984 [6] ) in reproducing piano rolls that he perfected just as the roll companies went out of business, and piano action improvements adopted by the Steinway Company (U.S. patent number 2263088 [7] ). Hofmann died of pneumonia on February 16, 1957. He was survived by four children. His second wife, Betty Short, had previously been one of his pupils. [8] The Josef Hofmann Piano Competition, co-sponsored by the American Council for Polish Culture and the University of South Carolina Aiken was established in his honor in 1994. [9]

Transcript of Josef Hofmann - e-monsiteancienssaintcasimir.e-monsite.com/medias/files/hofman.pdf · 2012. 5....

Page 1: Josef Hofmann - e-monsiteancienssaintcasimir.e-monsite.com/medias/files/hofman.pdf · 2012. 5. 23. · Polish-American virtuoso pianist, composer, music teacher, and inventor. Biography

Josef Hofmann 1

Josef HofmannJosef Casimir Hofmann (originally Józef KazimierzHofmann; January 20, 1876 – February 16, 1957) was aPolish-American virtuoso pianist, composer, music teacher,and inventor.

Biography

Josef Hofmann was born in Podgórze, near Kraków,Austria-Hungary (now Poland) in 1876. His father was thecomposer, conductor and pianist Kazimierz Hofmann, and hismother the singer Matylda Pindelska. A child prodigy, hegave a debut recital in Warsaw at the age of 5, and a longseries of concerts throughout Europe and Scandinavia,culminating in a series of concerts in America in 1887-88 thatelicited comparisons with young Mozart and youngMendelssohn.[1] Anton Rubinstein took Hofmann as his onlyprivate student in 1892 and arranged the debut of his pupil inHamburg, Germany in 1894. Hofmann toured and performed extensively over the next 50 years as one of the mostcelebrated pianists of the era.[2] In 1913, he was presented with a set of keys to the city of St. Petersburg, Russia.

As a composer, Hofmann published over one hundred works, many of those under the pseudonym Michel Dvorsky,including two piano concertos and ballet music. He made the United States his base during World War I and becamea US citizen in 1926. In 1924, he became the first head of the piano department at the inception of the Curtis Instituteof Music, Philadelphia, and became the Institute's director in 1927 and remained so until 1938.He was instrumental in recruiting illustrious musicians such as Efrem Zimbalist, Fritz Reiner, Marcella Sembrich,and Leopold Auer as Curtis faculty. Hofmann's pupils included Jean Behrend, Abram Chasins, Abbey Simon, ShuraCherkassky, Ezra Rachlin, Nadia Reisenberg (see [3]), and Harry Kaufman. While not a pupil, Jorge Bolet benefitedfrom Hofmann's interest. In 1937, the 50th anniversary of his New York debut performance was celebrated with galaperformances including a "Golden Jubilee" recital at the Metropolitan Opera, New York. In 1938 he was forced toleave the Curtis Institute of Music over financial and administrative disputes. In the years from 1939 to 1946, hisartistic eminence deteriorated, in part due to family difficulties and alcoholism.[4] In 1946, he gave his last recital atCarnegie Hall, home to his 151 appearances, and retired to private life in 1948. He spent his last decade in LosAngeles in relative obscurity, working on inventions and keeping a steady correspondence with associates. [5]

As an inventor, Hofmann had over 70 patents, and his invention of pneumatic shock absorbers for cars and airplaneswas commercially successful from 1905 to 1928. Other inventions included a windscreen wiper, a furnace thatburned crude oil, a house that revolved with the sun, a device to record dynamics (U.S. patent number 1614984[6]) inreproducing piano rolls that he perfected just as the roll companies went out of business, and piano actionimprovements adopted by the Steinway Company (U.S. patent number 2263088[7]).Hofmann died of pneumonia on February 16, 1957. He was survived by four children. His second wife, Betty Short,had previously been one of his pupils.[8]

The Josef Hofmann Piano Competition, co-sponsored by the American Council for Polish Culture and the Universityof South Carolina Aiken was established in his honor in 1994.[9]

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Josef Hofmann 2

Career as a child prodigy

Hofmann as a young man at thekeyboard.

Anton Rubinstein heard the seven-year old Hofmann play Beethoven's CMinor Piano Concerto in Warsaw and declared him to be an unprecedentedtalent (see [10] and [11]). At Rubinstein's suggestion, German impresarioHermann Wolff offered career management and to send the boy on aEuropean tour, but Hofmann's father refused to let the boy travel until he wasnine years old. At that age, Hofmann gave concerts in Germany, France,Holland, Norway, Denmark, Sweden, and Great Britain.[10]

In 1887, an American tour was arranged and after three months ofperformances that included fifty recitals, seventeen of which were at theMetropolitan Opera House. Yet soon after,the Society for the Prevention ofCruelty to Children stepped in, citing the boy's fragile health. However, as perthe contract that had paid Hofmann $10,000, he was legally obliged tocomplete the tour. The contract was rendered void by Alfred Corning Clarkwho donated $50,000 and, in turn, legally forbade Hofmann to perform inpublic until he turned 18 years old.[2] The final segment of the tour wascancelled and the family returned to Potsdam, outside Berlin. This marked theend of Hofmann's child prodigy years. (See [12] and [10] for details.) At theage of 12, young Josef Hofmann was probably the first pianist of note to record on Edison's phonograph; Hans vonBülow recorded a Chopin Mazurka on Edison's improved phonograph the same year, i.e., 1888. [13]

Education in musicClark's donation enabled Hofmann to continue individual study in science and mathematics, and he continued to takemusic lessons from Heinrich Urban (composition)and with the pianist and composer Moritz Moszkowski. In 1892,Rubinstein accepted Hofmann as his only private pupil, the two meeting for 42 sessions in Dresden's Hotel d'Europe.Initial lessons, a week apart, included ten Bach Preludes and Fugues and two Beethoven sonatas, from memory.Hofmann was never allowed to bring the same composition twice, as Rubinstein said as a teacher he would probablyforget what he told the student during the previous lesson. Rubinstein never played for Hofmann, but gave ampleevidence of his pianistic outlook during many recitals the boy heard. In a three-day period Hofmann heard in Berlin'snew Bechstein Hall recitals by Hans von Bülow, Johannes Brahms and Rubinstein, and commented on their radicallydifferent playing. Rubinstein arranged Hofmann's adult debut on March 14, 1894, in Hamburg's SymphonicAssembly Hall, the piece being Rubinstein's Piano Concerto No. 4 in D minor, with the composer conducting. Afterthe concert, Rubinstein told Hofmann there would be no more lessons, and they never saw each other again. In lateryears Hofmann referred to his relationship with the titanic Russian master as the "most important event in my life.".[10]

Hofmann at the end of his careerBy the early 1930s, Hofmann had become an alcoholic but he retained exceptional pianistic command throughoutthis decade; Rudolf Serkin and a young Glenn Gould have recounted magical impressions created on them byHofmann's concerts in mid-and-late 1930s. [14] [15] After his departure from the Curtis institute in 1938, acombination of his drinking, marital problems and a loss of interest in performing caused a rapid deterioration in hisartistic abilities. Commenting on Hofmann's sharp decline, Sergei Rachmaninoff said, "Hofmann is still sky high ...the greatest pianist alive if he is sober and in form. Otherwise, it is impossible to recognize the Hofmann of old". [16]

Oscar Levant wrote, "one of the terrible tragedies of music was the disintegration of Josef Hofmann as an artist. Inhis latter days, he became an alcoholic. …[H]is last public concert … was an ordeal for all of us". [17]

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Josef Hofmann 3

Technique and style

Josef Hofmann playing solos in the MetropolitanOpera House gala on Nov. 28, 1937, the 50th

anniversary of his American debut.

Hofmann's views on technique and musicianship are explained in hisbook Piano Playing with Questions Answered.[18] He had small butexceptionally strong hands.[2] Steinway eventually built for him acustom keyboards with slightly narrower keys (pianist/critic StephenHough has commented on how Hofmann's mechanical understandingof the Steinway piano action set him apart from all other pianists.[19])His concert instruments had subtle action changes for faster repetition,two pedals rather than three (he liked the older Steinway trap workgeometry), faultless regulation, and were accompanied on tours by hisown recital chair, built with a short folding back and a 1½" slope fromrear to front. After playing Hofmann's special concert instrument in theSteinway New York basement, Gunnar Johannsen reported that the piano had the biggest sonority of any he had evertried.

Unlike Rubinstein, Hofmann sat quietly at the piano,[2] striking the keys in a kneading manner. His finger staccatowas at the time unequaled, as was his orchestral sonority. According to his student Nadia Reisenberg, hecontinuously used a combination of finger pedalling and foot pedalling.[3] New York Times critic Harold C.Schonberg said Hofmann had all of Leopold Godowsky's technique,[2] a claim approved by Godowsky himself. [20]

By his own admission, Sergei Rachmaninoff, in his 40s, prepared for a career as a concert pianist by practicing over15 hours a day with the goal of attaining the level of Hofmann's technique.[20] When pianist Ralph Berkowitz wasasked if Vladimir Horowitz had the greatest technique of all the pianists he had heard, Berkowitz replied thatHorowitz indeed was the supreme master of the technical parts of performance, but one older era pianist was hisequal - Hofmann.Hofmann's approach and style can be summarized by his motto "an aristocrat never hurries". [20] He often stated thatRubinstein and Moriz Rosenthal were the only pianists that influenced his art, and admired singers Mattia Battistiniand Marcella Sembrich (see [2] and [14]). He adopted a more demonstrative style in live performances but a subtleand restrained style for his studio recordings; in both cases, he mostly adhered to the printed score, occasionallydoubling left-hand octaves, and shunned sentimentality. [2] He put spontaneity rather than structure foremost andadmitted to Rachmaninoff that "I do not know how to build a composition ... occasionally, it happens to soundwell".[2] Schonberg wrote that among Hofmann's contemporaries, only Godowsky had the finish and refinement ofHofmann but lacked Hofmann's color, fire, and "red blood", while only Ferruccio Busoni and Rachmaninoff wereever mentioned by contemporaries as Hofmann's equals.[2] After hearing a performance of Chopin's B minor Sonataby Hofmann, Rachmaninoff cut that piece from his own repertoire saying "not since Anton Rubinstein have I heardsuch titanic playing".[20]

Suggested examples illustrating Hofmann's style:,,[21][22],[23][24],[25][26],[27][28],[29][30],,,[31][32][33] and [34] (dedicatedto him by Sigismond Stojowski).

Repertoire, musical ear and memoryHofmann's repertoire was mostly confined to music written before the start of the 20th century. Much like Rubinstein's seven historic recitals of 1885, he gave 21 consecutive concerts in St. Petersburg without repeating a single piece, playing 255 different works from memory during that marathon cycle in 1912–1913.[35] In the diary his wife kept during his 1909 Russian tour, she mentions his raising his eyebrows when he saw Brahms' Handel Variations on a program—a piece he had not played or even looked at for two and a half years. He played the work at the concert without hesitation.[35] Although a poor sight reader, he was said to possess the ability of Franz Liszt and Camille Saint-Saëns to hear a composition once and play it back correctly without seeing the printed notes.

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Rosina Lhévinne recalled that Hofmann heard her husband Josef Lhévinne play Liszt's Lorelei, a piece Hofmann hadnever heard but went on to play it "just like my Josef (Lhevinne)" for an encore at his concert later that day.[36]

Maurice Aronson, who served as Leopold Godowsky's assistant, recalled Hofmann learning Godowsky's Fledermaustranscription. Godowsky and Hofmann met in Berlin in 1900, becoming friends until Godowsky's death in 1938.Hofmann would visit Godowsky's studio and listen while Godowsky was composing Fledermaus. A week laterHofmann visited Godowsky again and played the entire transcription, and he had never seen the music. Godowsky,in fact, had not yet written it down. Schonberg has added that Godowsky's Fledermaus is one of the most resourcefuland complicated stunts ever written for the piano.[36]

RecordingsHofmann started recording in studio in 1880's but was never satisfied with the available technology and made onlytest pressings after 1923;[2] he considered the test pressings made for HMV in November 1935 to be a worthwhilerepresentation of his art. [37] In the 1940s he recorded for the Bell Telephone Hour radio programs which includeHofmann's only filmed appearance, playing Rachmaninoff's Prelude in C-sharp minor, Op. 3, No. 2. Gregor Benkohas remarked that Hofmann should not have appeared on many of the Bell Telephone Hour broadcasts since, by thistime, his pianistic control had deteriorated considerably though the tonal palette was still immense and the phrasingprovocative (see [37] and [2]). Hofmann's student Jeanne Behrend, after first hearing the recordings from 1940 to1946, stated "well, it's his playing, but nothing like what we heard in the 1920s."Cylinders recorded c. 1890 for Thomas Edison were some of the earliest recordings of classical music and were lostduring World War I. Four cylinders made in Russia in 1895–1896, with music by Mendelssohn, Louis Brassin andRubinstein, have been recently discovered and issued on CD.[38] He made two series of reproducing piano rolls,including in 1913 23 pieces for Welte-Mignon but did not trust rolls as an accurate representation of his playing.Hofmann recorded acoustic discs from 1912 to 1923 for Columbia and Brunswick, but felt the representation of hischaste and prismatic tonal palette was not captured. He did experiment with short studio test recordings in 1935, andin retirement in California experimented with piano string electrical pickups and designing an additional sprucesoundboard under the piano lid. At least three of his concerts in 1930's were recorded live. These concert recordingsexhibit an older Hofmann (age 60-62) in public just prior to the sharp decline in his pianistic command, and includesensational readings of Chopin's G minor Ballade, Andante Spianato and Grand Polonaise, A-flat Waltz (Op. 42) andF minor Ballade. All of these recordings have recently been published on compact discs under the auspices of GregorBenko and audio restorer Ward Marston.[39]

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Josef Hofmann 5

Controversial stature

The 1917 New York Times article of James Hunekerplacing contemporary pianists in the context of the past

legends.

Harold C. Schonberg has argued that Hofmann was the mostflawless and possibly the greatest pianist of the 20th century.[2]

HMV and RCA unsuccessfully pursued recording projects withHofmann in the 1930s. Rachmaninoff dedicated his PianoConcerto No. 3 in D minor (1909) to Hofmann, althoughHofmann disliked it and never played it. Older generationcritics such as James Huneker labeled Hofmann the "king ofpianists", and Samuel Chotzinoff called him the "greatestpianist of our time." Contemporaries such as Rachmaninoff,Ignaz Friedman, Josef Lhévinne, and Godowsky consideredHofmann to be, overall, the greatest pianist of theirgeneration,[16][20] but the acclaim was not so universal from thenext generation of pianists.[14] In his autobiography ArthurRubinstein criticized Hofmann as someone who took interest inonly the mechanics of music and not in its heart or spirituality,and commented that at the end of Hofmann's career "he was leftwith nothing after his technique left him".[40] Claudio Arraudismissed Hofmann (along with Paderewski) as someone whoonly happened to be very famous and said "I didn't know whatto do with him".[41] Sviatoslav Richter, after listening to aHofmann RCA test pressing of the Scherzo from Beethoven'sSonata in E-flat, Op. 31, No. 3, considered the older pianist tobe technically "stunning", but noted that Hofmann ignored thecomposer's sforzando markings; while György Sándor hascalled him the greatest of all 20th century pianists in terms ofmusic, interpretation, and technique.[42] Hofmann's own studentShura Cherkassky compared Horowitz favorably with Hofmann as follows: "Hofmann was possibly the greatermusical mind. But, I think, Horowitz was the greater pianist, the greater virtuoso—he somehow appealed to thewhole world. Hofmann could not communicate on that level".[14]

BibliographyHofmann's books were based on his frequent articles in the Ladies' Home Journal:• Piano Playing: A Little Book of Simple Suggestions (1907) — e-text [43]

• Piano Questions Answered (1909)• Piano Playing: With Piano Questions Answered (1920, compilation of the first two books) — e-text [44], ISBN

0-486-23362-6 and ISBN 1-150-03067-4

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References[1][1] Harold Schoenberg. The Greatest Pianist of His Time. New York Times, 18 April 1976.[2] Harold C. Schonberg, The Great Pianists from Mozart to the Present, 2nd ed., Simon & Schuster, 1987[3] http:/ / www. nadiareisenberg-clararockmore. org/ nadia_biography. htm[4] (http:/ / www. marstonrecords. com/ hofmannv6/ hofmannv6_liner. htm)[5] (http:/ / www. youtube. com/ watch?v=LPyHJ969_GU)[6] EECOBDEB FOB MUSICAL DYNAMICS JOSEF HOFMANN, (http:/ / www. google. com/ patents?id=LLVCAAAAEBAJ)[7] PIANO ACTION, Josef Hofmann (http:/ / www. google. com/ patents?id=1DZRAAAAEBAJ)[8] Hofmann, Josef. Josef Hofmann (http:/ / free. art. pl/ hofmann/ english/ josefhofmann. html). . Retrieved 9 May 2010.[9] bHendrix, Denise (25 May 1995) "Piano Competition Begins Tonight" The Augusta Chronicle (Georgia) p. C-1[10] http:/ / www. wyastone. co. uk/ nrl/ gpiano/ 8818c. html[11][11] Henry Charles Lahee. Famous Pianists of Today and Yesterday. Boston L.C. Press, 1900 (re-print 1906). Book contributor: Music -

University of Toronto.[12] (http:/ / www. naxos. com/ artistinfo/ Josef_Hofmann_3657/ 3657. htm)[13] Music & Letters. vol. 37, no. 4, Oct. 1956, pp. 380–382 (http:/ / www. jstor. org/ stable/ 730447)[14] http:/ / www. marstonrecords. com/ hofmannv8/ hofmannv8_liner. htm[15] http:/ / en. wikipedia. org/ wiki/ Glenn_Gould[16][16] Sergei Bertensson and Jay Leyda. Rachmaninoff: A Lifetime in Music. Indiana University Press, 2001.[17][17] Oscar Levant. The Unimportance of Being Oscar, Pocket Books 1969 (reprint of G.P. Putnam 1968), p. 124. ISBN 0-671-77104-3.[18] Hofmann, Josef (1920). Piano Playing with Questions Answered (http:/ / imslp. org/ wiki/

Piano_Playing_with_Piano_Questions_Answered_by_Josef_Hofmann_(Hofmann,_Józef)). Philadelphia: Theodor Presser. . Retrieved 31July 2009.

[19] "Why was Josef Hofmann considered the greatest pianist of all?" (http:/ / blogs. telegraph. co. uk/ culture/ stephenhough/ 100003275/why-was-josef-hofmann-considered-the-greatest-pianist-of-all/ ). The Daily Telegraph (London). 2009-09-17. . Retrieved 2010-05-07.

[20] Abram Chasins. Speaking of Pianists. Random House. 1957[21] http:/ / www. youtube. com/ watch?v=y_y0f_zPAwk[22] http:/ / www. youtube. com/ watch?v=IJXuDbkG9Io[23] http:/ / www. youtube. com/ watch?v=dyw6Nl_gzLs[24] http:/ / www. youtube. com/ watch?v=mV4cLbfXbng[25] http:/ / www. youtube. com/ watch?v=MFZQM-2KTBI[26] http:/ / www. youtube. com/ watch?v=UX6PXkqOr0Y& feature=related[27] http:/ / www. youtube. com/ watch?v=Qt3yXoKDsp4& feature=related[28] http:/ / www. youtube. com/ watch?v=AjBNgEa85Dg[29] http:/ / www. youtube. com/ watch?v=dYzB5A26bDc[30] http:/ / www. youtube. com/ watch?v=qEUFIMz3vSA[31] http:/ / www. youtube. com/ watch?v=3YxCVLb3PQE[32] http:/ / www. youtube. com/ watch?v=5I0z8WYHVeA[33] http:/ / www. youtube. com/ watch?v=yo7_gyGJsM8[34] http:/ / www. youtube. com/ watch?v=IdHNRGIn9Hg[35][35] Schonberg, 385[36][36] Schonberg, 386-387[37] http:/ / www. marstonrecords. com/ Hofmann/ hofman_ward. htm[38] Wakin, Daniel J. (2008-10-26). "Classical Ghosts, Audible Once Again" (http:/ / www. nytimes. com/ 2008/ 10/ 26/ arts/ music/ 26waki.

html?pagewanted=all). The New York Times. . Retrieved 2010-05-07.[39] < (http:/ / www. marstonrecords. com/ )[40][40] H. Sachs. Arthur Rubinstein: Biography and Memoirs. Phoenix, 1997[41][41] J. Horowitz. Arrau on Music and Performance. Courier Dover Publications, 1999[42][42] The Art of Piano: Great Pianists of the 20th Century. DVD released by Warner Music Vision, August 2002.[43] http:/ / www. archive. org/ details/ pianoplayingali00hofmgoog[44] http:/ / www. archive. org/ details/ pianoplayingwith00hofmuoft

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Josef Hofmann 7

External links• Josef Hofmann Collection, International Piano Archives, University of Maryland (http:/ / www. lib. umd. edu/

PAL/ IPAM/ IPAMhofmann. html)• Free scores by Józef Hofmann at the International Music Score Library Project• Piano Rolls (http:/ / www. rprf. org/ Rollography. html) ( The Reproducing Piano Roll Foundation (http:/ / www.

rprf. org/ ))•• Jan Żdżarski: Józef Hofmann Geniusz zapomniany, Wydawnictwo STO, www.sto.com.pl• Historical Marker Database (http:/ / www. hmdb. org/ marker. asp?MarkerID=10184) Josef Hofmann Historical

Marker, Aiken, SC

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Article Sources and Contributors 8

Article Sources and ContributorsJosef Hofmann  Source: http://en.wikipedia.org/w/index.php?oldid=492157961  Contributors: Alextierno98, Antidote, Ausir, AxelBoldt, Bejnar, Bibliomaniac15, Bmusician, Bob Burkhardt,BrownHairedGirl, Cacophony, Cgingold, Chowbok, Cmaric, Colonies Chris, D6, Deadworm222, Defrosted, Double sharp, Dr. Friendly, Dr31, Ecplecticos, Emax, Fedallah, Gdarin, Gerhard51,Goclenius, Graham87, Jacek Kendysz, JackofOz, Japanese Searobin, Johnpacklambert, Jongo, Jonyungk, KF, Kaikhosru, Kasyapa, Kbdank71, Keinstein, Kiwa, Ksnow, LiniShu, M0RD00R,MUSIKVEREIN, Mandel, Mhare40, Missmarple, MisterCSharp, Mmxx, Monk127, Morn, Nanusia, Nightkey, Ovens for sale, Papabear1970, Pentium1000, Pepper, Perlesgirl, Pgeffen, Pladask,Queenmomcat, Rajah, Rich Farmbrough, Rjwilmsi, Rob McAlear, RobertG, Ruszewski, Singingdaisies, Sjpavlova, Skier Dude, Slysplace, Springeragh, Supine, Szczebrzeszynski, THD3, Toytoy,Ucucha, Viajero, Violncello, Woohookitty, Yamla, 97 anonymous edits

Image Sources, Licenses and ContributorsFile:Josef Hofman 03.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Josef_Hofman_03.jpg  License: Public Domain  Contributors: Unknown (Bain News Service, publisher)Image:Jhofmann.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Jhofmann.jpg  License: Public Domain  Contributors: Original uploader was Jonyungk at en.wikipediaFile:Metropolitan Opera House, a concert by pianist Josef Hofmann - NARA 541890 - Edit.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Metropolitan_Opera_House,_a_concert_by_pianist_Josef_Hofmann_-_NARA_541890_-_Edit.jpg  License: Public Domain  Contributors:Unknown or not provided Retouched by MmxxFile:JamesHunekerArticle1917b.pdf  Source: http://en.wikipedia.org/w/index.php?title=File:JamesHunekerArticle1917b.pdf  License: Public Domain  Contributors: James Huneker

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