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Jorge Bolet on Josef Hofmann (interview)

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.” https://www.marstonrecords.com/collec... Please support Marston Records by purchasing their CDs!