Sullivan, Tosti, Moszkowski,
Richard Strauss, Paderewski, Josef Hofmann, Edouard Strauss, and
Mascagni. Bok induced Josef Hofmann to give a series of piano lessons
in his magazine, and Madame Marchesi a series of vocal lessons. _The
Journal_ introduced its readers to all the great instrumental and vocal
artists of the day through articles; it offered prizes for the best
piano and vocal compositions; it had the leading critics of New York,
Boston, and Chicago write articles explanatory of orchestral music and
how to listen to music.

Bok was early attracted by the abilities of Josef Hofmann. In 1898, he
met the pianist, who was then twenty-two years old. Of his musical
ability Bok could not judge, but he was much impressed by his unusual
mentality, and soon both learned and felt that Hofmann's art was deeply
and firmly rooted. Hofmann had a wider knowledge of affairs than other
musicians whom Bok had met; he had not narrowed his interests to his
own art. He was striving to achieve a position in his art, and,
finding that he had literary ability, Bok asked him to write a
reminiscent article on his famous master, Rubinstein.

This was followed by other articles; the publication of his new
mazurka; still further articles; and then, in 1907, Bok offered him a
regular department in the magazine and a salaried editorship on his
staff.

Bok's musical friends and the music critics tried to convince the
editor that Hofmann's art lay not so deep as Bok imagined; that he had
been a child prodigy, and would end where all child prodigies
invariably end--opinions which make curious reading now in view of
Hofmann's commanding position in the world of music. But while Bok
lacked musical knowledge, his instinct led him to adhere to his belief
in Hofmann; and for twelve years, until Bok's retirement as editor, the
pianist was a regular contributor to the magazine. His success was, of
course, unquestioned. He answered hundreds of questions sent him by
his readers, and these answers furnished such valuable advice for piano
students that two volumes were made in book form and are to-day used by
piano teachers and students as authoritative guides.

Meanwhile, Bok's marriage had brought music directly into his domestic
circle. Mrs. Bok loved music, was a pianist herself, and sought to
acquaint her husband with what his former training had omitted.
Hofmann and Bok had become strong friends outside of the editorial
relation, and t