Jorge Bolet on Josef Hofmann (interview)
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- Опубликовано: 27 авг 2024
- From the Marston liner notes:
Jorge Bolet (1914-1990) was interviewed in Manhattan by Gregor Benko on 9 April 1987. Hofmann’s playing awed the Cuban-American pianist Jorge Bolet with an intensity that lasted until the day he died, although Bolet always maintained that he patterned his own ideas about performance after Rachmaninoff, rather than Hofmann: “He was a unique personality, a unique pianist. What he did was perfect … for him” he explains. We can hear Bolet’s awe more than fifty years later as he describes Hofmann’s “boundless imagination” that was brought to bear on Beethoven’s “Sonata Op. 111,” as well as Liszt’s “Don Juan Fantasy,” with a middle section that was “… so sensuous,” while other Hofmann performances were “… basically so simple, straight, without deviating one iota …” from the score.
Bolet studied with Hofmann’s assistant, David Saperton, and was among a group of students at the Curtis Institute of Music that included Nadia Reisenberg, Shura Cherkassky (who made a successful effort then to copy Hofmann’s style), and the now-forgotten Lucie Stern. Born in 1914, the same year as Bolet, Stern may have been one of Hofmann’s most talented pupils, but she died in 1938.
Of particular interest is Bolet’s evaluation of how well the recordings represent what Hofmann sounded like in person, and his description of Hofmann’s famous mannerism, bringing his flattened hand down on the keyboard to make an “explosion.” Perhaps some today will be astonished by Bolet’s final words, that there are “… no absolutes in music, including what a composer wrote.”
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Fascinating! So great to hear this!
Invaluable to hear directly from an artist who was there, who heard the pianists of one of the great "Golden Ages" actually live, and who studied with some of the legendary figures in musical history.
I remember reading in Harold Schoenberg's book "The Great Pianists" that Rachmaninoff, at a Hofmann recital, after a performance of the Chopin B minor sonata, turned to a friend and said "There goes another piece from my repertoire. It was nothing but the music, and he's the only one who can do it."
Correct; and if you listen to Hofmann’s “test” recording from 1938, you’ll understand why
God ,what a wisdom and truth.I am so fortunate to have heard this man live in the 80's
Same here. In the 1980s I saw him play Liszt 1 and 2 in the one concert (each side of the internal). I will never forget it. Rest in peace Jorge.
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There are no absolutes in music Great conclusion and wisdom
In 1986 I attended the rehearsal of Bolet playing Beethoven's Emperor Concerto with the BBC Symphony Orchestra conducted by Sir John Pritchard at that years Edinburgh Festival. I have never seen to this day a more acrimonious personality clash between two musicians. At numerous points throughout the rehearsal either Bolet or Pritchard would suddenly stop and shout insults at each other. I remember in the slow movement Pritchard stopped ,turned to Bolet and said something to him ,to which Bolet completely ignored him and continued playing. Pritchard then shouted at the top of his voice ,"THAT'S VERY PRETTY BUT IT'S NOT WHAT I MEANT". At another point in the 1st movement ,Bolet suddenly stopped playing and with his left arm outstretched ,pointing at Pritchard ,he shouted "WHY ARE YOU GETTING FASTER". Pritchard muttered something to himself that I couldn't hear but I did see some of the strings smiling. The rehearsal must have affected Bolet ,because the evening performance which I also attended was full of wrong notes ,even in the slow movement. A Lady next to me asked if he always played that badly ?. I replied ,you did not see what happened at rehearsal !.
Great story! Thank You. I loved Bolet. When he was on he was so magnificent.
I believe the concerto is the soloists piece, not the conductor's. If a conductor doesn't like a soloist, then step down or find another soloist. Vice versa.
pianopera thank you so much for this. Invaluable interview!
Mr. Bolet describing Hofmann or Rachmaninoff is the only time I ever heard him searching for descriptive terms--at a loss for words. Hearing a giant like Bolet trying to describe a "god" of the piano is quite awe-inspiring. "How do you define 'pianist""?" I love him asking that question.
Bolet more greater then Hofmann
It shows that not only fingers and training but the character and musical personality must be huge . Rubinstein also talks about Godowsky and that he could never play like that in 500 years and when you hear his Italian recordings from the 30's I wonder how he was allowed in to their matinees at Godowsky's home !
A fascinating interview, and some interesting observations. Thanks for the upload!
'how do you define pianist?' ... yes!
I think in Hofmann's playing we have a strong clue as to how Anton Rubinstein played. Though I think there is no doubt that Hofmann was also unique and very original.
Antons playing, based on recollections of people who heard him, ranges from god like to noisy. Too bad we dont have even one recording
Fascinating!
so interesting thank you
Very interesting. Bolet sounds more natural in conversation that he normally does. What's the date and source? Is the interlocutor David Dubal?
djc - it’s Gregor Benko, co-founder of the International Piano Archives.
MrRicksStudio Thanks.
As per the video description: 9 April 1987
Does anyone have a recording of Hofmann's 111 that Bolet discusses?
Unfortunately such a recording does not exist...
Fascinating what he said at the end of this video. Unfortunately the big record label celebrity pianists today, such as Vladimir Ashkenazy, Michiko Uchida and Daniel Barenboim all play like that.
pianopera thank you so much for this. Invaluable interview!