约瑟夫·霍夫曼(JosefHofmann)约瑟夫·霍夫曼1876年生于波兰的克拉科夫,1957年于洛杉矶去世。他的父亲,一位非常成功的音乐教师,是他最早的钢琴老师。霍夫曼6岁开始公演,到10岁时,已成为当时最著名的音乐神童。安东·鲁宾斯坦听到他演奏后称他为“音乐的奇迹”。1887年的美国首演后引起轰动,在10周内计划演出52场,受到“阻止虐待儿童协会”的起诉,并停止了他最后的28场演出。当时有一位慈善家给他家庭五万美金的赞助,要求他从公演中退下来,并回到欧洲进一步学习,直到18岁时才可再次在公众场合出现。霍夫曼接着去巴黎跟莫什科夫斯基学习,以后又成为安东·鲁宾斯坦唯一的私人学生。1894年霍夫曼18岁时于汉堡重返舞台,演奏鲁宾斯坦的《d小调协奏曲》,作曲家本人担任指挥。霍夫曼被认为是鲁宾斯坦的继承者。拉赫玛尼诺夫认为霍夫曼“有能力使每个作品带有一种独特的具有个性的魅力”。1924年柯蒂斯音乐学校成立时,霍夫曼成为第一任校长,并吸引了众多世界著名的音乐家到这里任教。霍夫曼的演奏十分个性化,并对音乐作品有自我为中心的处理。阿图尔·鲁宾斯坦认为“,在弹奏大师们的作品时,他的主要兴趣是力度的变化和强烈的对比。……他喜欢强调某些伴奏声部,这些在其他人的演奏中是从未听到的”。霍夫曼的艺术无疑是与众不同的。他有令人震惊的个性和一个强有力的音乐头脑,但对音乐缺少深度的挖掘。他具有巨大的技术能力,以及各种色彩的声音变化。他曾说“,技巧是一箱不同的工具,一位熟练的手艺人会在恰当的时候为适当的目的取出他所需要的”。 Josef Hofmann Josef Hofmann was born in Krakow, Poland in 1876 and died in Los Angeles in 1957. His father, a very successful music teacher, was his earliest piano teacher. Hoffman began performing at the age of 6, by the age of 10, became the most famous music prodigy at that time. Anton Rubinstein once called him “a miracle of music” after hearing him play. After its debut in 1887 in the United States, it caused a sensation and planned to perform 52 games in 10 weeks. It was sued by the Stop Child Abuse Association and stopped his last 28 performances. At that time, a philanthropist sponsored his family for 50,000 U.S. dollars and asked him to withdraw from the performance and return to Europe for further study. Only then can he emerge again in public at the age of eighteen. Hoffman then went to Paris to study with Moshkovski, and later became Anton Rubinstein’s only private student. In 1894 Hoffman returned to the stage at the age of 18 in Hamburg, playing Rubenstein’s “d Minor Concerto,” the composer himself as conductor. Hoffman is considered the successor to Rubinstein. Rachmaninoff thinks Hoffman “has the ability to bring a unique, individualistic charm to each work.” When Curtis Music School was founded in 1924, Huffman became the first principal and attracted many world famous musicians to teach here. Hoffman’s performance is very personal and takes a self-centered approach to musical compositions. Artur Rubinstein argues, “His major interest in playing the masters’ work is intensity and contrast. ... He likes to emphasize certain accompaniment parts, which are played by others It’s never been heard. ” Hoffman’s art is undoubtedly different. He has astonishing personality and a strong musical mind, but lacks the depth of mining music. He has tremendous technical ability, as well as a variety of color sound changes. He once said, “Skill is a box of different tools, a skilled craftsman will get what he needs for the proper purpose at the right time.”