Indeed a great interpretation of this piece. I knew it from a record of Hoffmann's star-
pupil: Shura Cherkassky. Now i can hear that Shura learned a lot of his teacher. Shura was a one of the greates pianists of the 20th century, but unfortunately he was not a household name, although his repertoire was tremendously large, and he performed for more than 75 years on the concert stage. His tone and legato were insurpassed. One one of his Decca records he plays this Caprice Espanol
Lang Lang's hot, but it'll take a lot more than hair gel and some flashy stage mannerisms before you can even think about putting him in the same category as Hoffman, Bolet, Horowitz, Arrau, and the other truly great pianists.
Lang Lang's hot, but it'll take a lot more than hair gel and some flashy stage mannerisms before you can even think about putting him in the same category as Hoffman, Bolet, Horowitz, Arrau, and the other truly great pianists.
He had quite the prodigious technique; I wouldn't dare cavil the sound quality seeing as the performance itself, the interpretation, is excellent and not the kind of ostentatious performances that sometimes this piece receives. I think the score cuts are venial; I couldn't care for that.
Hofmann is uncanny .He knew so much and he had such stle.more elegance than Sauer more terror than Rachmaninoff and fancy and imagination. We r so lucky to have so much left of him live playing. How come there r no Rach radio no Lhevinne. well cant have it all.Lipatti on radio but no Rach ,pity.
The only problem with this recording is that Hofmann doesn't play some of the music. He omits 33 bars from 99-131 and 32 more from 274-305. He's famous for saying that he never plays a piece twice the same way. Of course, just leave out a few measures! Actually I love his interpretations from both jubilees and the fantastic articulation at such a fast tempo. Also because he was a successful engineer. Also he was a friend of my teacher, Elvin Schmitt.
What a sense of rhythm and agogics! Those accents! Always a strong beat, no matter how complex the passagework. The clarity! And only Hofmann could be so forceful, expressive, and "patrician" at the same time, without going all schmaltzy on us. We always get the sense that no matter what he does, he places the music before himself, even at his most inventive. Great post, and a personal favorite.
Backhaus, too, is judged by pianistic pundits: he did not "grow" as he aged, he was simplistic and brutish in Beethoven, his Chopin etudes were more about technical finesse than about "musical" playing, and so on ad nauseam. Why do some so dismiss such titans of the keyboard? Lhevinne, Godowsky, Rachmaninoff, and Hofmann have all been bludgeoned and accused of being somehow "cold" and overly "objective". Yet Lang Lang gets rave reviews from the witless! Let us value and cherish our titans, all.
It is true, these above mentioned players are titans but you shouldn't dismiss Lang Lang, he has wit, technique and distinctive chinese charisma which allows him to play some pieces with the same creativeness as these old masters...
@palcsi Correct. Hofmann studied with Moszkowski - not for 'only for a short time', but for a period of two years. This was followed by two more years of study with Anton Rubinstein. Before this, of course, he had studied with his father, Casimir, who had drilled him relentlessly in the practice of scales, among other branches of technique - Hofmann remained grateful for this his entire life.
It's a bit more than only outstanding technique. It's fresh, elegant, featherlight, perfect in timing and full of fantasy. But then again, I guess that a live version of this by Hofmann would be much more original, as he detested studio recordings.
There were two Golden Jubilee concerts. One in New York and the other in Philadelphia. This piece and the Chopi n Andante Spianato Are both best in the Philadelphis concert. The Chopin is the benchmark for the piece as is this Caprice .
I remember the old 78 by Wilhelm Backhaus. I don't have this now; I imagine it has been put onto CD. Josef Hofmann's playing is perfect, or course, but there is not much in the way of warmth, emotion, mood.
How did he manage such breathtaking speed? And he made it sound so effortless! He must have been relaxed at the stage. What a maestro!
wesmusic56 2 months ago
what would this sound like without time constraints?
ReturnOfTheStienway 9 months ago
too fast, starts losing character at this speed
BalticJesuits 10 months ago
@BalticJesuits I agree, sounds a bit dittyish at this speed. But still very exciting and technically superb performance.
jiggsuhhh 6 months ago
Indeed a great interpretation of this piece. I knew it from a record of Hoffmann's star-
pupil: Shura Cherkassky. Now i can hear that Shura learned a lot of his teacher. Shura was a one of the greates pianists of the 20th century, but unfortunately he was not a household name, although his repertoire was tremendously large, and he performed for more than 75 years on the concert stage. His tone and legato were insurpassed. One one of his Decca records he plays this Caprice Espanol
pghagen 1 year ago
This has been flagged as spam show
Lang Lang's hot, but it'll take a lot more than hair gel and some flashy stage mannerisms before you can even think about putting him in the same category as Hoffman, Bolet, Horowitz, Arrau, and the other truly great pianists.
NC Hank
greenmillhd 1 year ago
Lang Lang's hot, but it'll take a lot more than hair gel and some flashy stage mannerisms before you can even think about putting him in the same category as Hoffman, Bolet, Horowitz, Arrau, and the other truly great pianists.
greenmillhd 1 year ago 2
Thank you so much for an upload!
AntipovSvyatoslav 1 year ago
For non-French speakers: the title of the piece is Caprice Espagnol, not Caprice EspagnolE.
Best, David
davidrds 1 year ago
@davidrds
Thank you for noticing that!
truecrypt 1 year ago
You know, with the exception of possibly argerich this fella had the worlds fastest repeated notes..
1fattyfatman 2 years ago
@1fattyfatman I really don't think Argerich beats this.
sukangeong 1 year ago
@sukangeong Pretty sure your right now that I compare the even more pop out and high you clarity of the 1916 Tarantella repeated notes .. !
1fattyfatman 1 year ago
Is there a relationship between this piece and the sonata by Scarlatti that sounds sort of similar?
demosj 2 years ago
@demosj : I guess the both share a definite "spanishness'... yup.
bersa888 1 year ago
@demosj That's very interesting
AntipovSvyatoslav 1 year ago
He had quite the prodigious technique; I wouldn't dare cavil the sound quality seeing as the performance itself, the interpretation, is excellent and not the kind of ostentatious performances that sometimes this piece receives. I think the score cuts are venial; I couldn't care for that.
PiaNonuTT 2 years ago
Hofmann is uncanny .He knew so much and he had such stle.more elegance than Sauer more terror than Rachmaninoff and fancy and imagination. We r so lucky to have so much left of him live playing. How come there r no Rach radio no Lhevinne. well cant have it all.Lipatti on radio but no Rach ,pity.
lovesGenet 2 years ago
I wish I could sport a 'stache like Moszkowski
juufa72 2 years ago 6
The only problem with this recording is that Hofmann doesn't play some of the music. He omits 33 bars from 99-131 and 32 more from 274-305. He's famous for saying that he never plays a piece twice the same way. Of course, just leave out a few measures! Actually I love his interpretations from both jubilees and the fantastic articulation at such a fast tempo. Also because he was a successful engineer. Also he was a friend of my teacher, Elvin Schmitt.
GoldenLionMusic 2 years ago
woaaaaah!!!!
ProfessorSuckMah 3 years ago 3
What a sense of rhythm and agogics! Those accents! Always a strong beat, no matter how complex the passagework. The clarity! And only Hofmann could be so forceful, expressive, and "patrician" at the same time, without going all schmaltzy on us. We always get the sense that no matter what he does, he places the music before himself, even at his most inventive. Great post, and a personal favorite.
camaysar222 3 years ago 3
Wonderful recording! Only Rachmaninoff himself comes close....
otto6891 3 years ago
i think stephen houghs version on virgin has more flair, but he could learn somethingfrom the clarity of the playing here. Amazing.
music4sherry 3 years ago
Moszkowski must have been the man.
AlC92575 3 years ago
Backhaus, too, is judged by pianistic pundits: he did not "grow" as he aged, he was simplistic and brutish in Beethoven, his Chopin etudes were more about technical finesse than about "musical" playing, and so on ad nauseam. Why do some so dismiss such titans of the keyboard? Lhevinne, Godowsky, Rachmaninoff, and Hofmann have all been bludgeoned and accused of being somehow "cold" and overly "objective". Yet Lang Lang gets rave reviews from the witless! Let us value and cherish our titans, all.
OrnishMathe 3 years ago 6
It is true, these above mentioned players are titans but you shouldn't dismiss Lang Lang, he has wit, technique and distinctive chinese charisma which allows him to play some pieces with the same creativeness as these old masters...
katkula 3 years ago
Only LL's playing of Liszt's Don Juan Fantasy makes this somewhat plausible. (The version on YT where he's wearing a hot pink shirt....)
nextren 3 years ago
Google:
Did you mean hot pink skirt?
aewanko300 3 years ago 6
More of a clown costume..
1fattyfatman 2 years ago 2
Lang Lang has nothing on Hofmann
coolchampagne 2 years ago 14
not many do, which i love because he has tiny hands like me. gives me hope and makes me feel less inadequate
llwayneio 1 year ago
@coolchampagne No one "has nothing" on Hofmann. On the other hand, it might be argued that Lang Lang has nothing on... Liberace.
MrRicksStudio 1 year ago 2
Hofmann's playing is always amazing.
If my memory serves me well, Hofmann studied with Moszkowski. Thus this interpretation is pretty close to the fire.
palcsi 3 years ago
Only for a short time.
RabidCh 3 years ago
@palcsi Correct. Hofmann studied with Moszkowski - not for 'only for a short time', but for a period of two years. This was followed by two more years of study with Anton Rubinstein. Before this, of course, he had studied with his father, Casimir, who had drilled him relentlessly in the practice of scales, among other branches of technique - Hofmann remained grateful for this his entire life.
Noshirm 1 year ago 3
outstanding technique but I prefer the Stephen Hough version.
volodya75 3 years ago
It's a bit more than only outstanding technique. It's fresh, elegant, featherlight, perfect in timing and full of fantasy. But then again, I guess that a live version of this by Hofmann would be much more original, as he detested studio recordings.
allegrissimo 3 years ago
I have the Golden Jubilee version of this piece... much more flamboyant than this version here.
RabidCh 3 years ago 2
Upload it?
marliben 3 years ago
Already on YT, search for it.
RabidCh 3 years ago
Good work. My brother has all the CDs but I didn't get MP3 versions of them (this is before all that stuff came out it was so long ago hehe).
marliben 3 years ago
There were two Golden Jubilee concerts. One in New York and the other in Philadelphia. This piece and the Chopi n Andante Spianato Are both best in the Philadelphis concert. The Chopin is the benchmark for the piece as is this Caprice .
aardvaark069 2 years ago
Absolutely astounding! Cannot be played any better,or even as good for that matter
for that mater.
Bravo! TY.
paulostroff99 3 years ago 10
This has been flagged as spam show
@paulostroff99 "Absolutely astounding! Cannot be played any better,or even as good for that matter."
Cannot be played as well-.
Bruce88keys 11 months ago
I remember the old 78 by Wilhelm Backhaus. I don't have this now; I imagine it has been put onto CD. Josef Hofmann's playing is perfect, or course, but there is not much in the way of warmth, emotion, mood.
gerardbedecarter 3 years ago
the astonishing one triumphs again.
kasyapa 3 years ago 4