s father
was an exceptionally successful teacher and was for a time Professor of
Harmony and Composition at the Warsaw Conservatory. The elder Hofmann's
talents were by no means limited to teaching, however, since he
conducted the Opera at Warsaw for many performances. He undertook the
training of his son with great care and since the child showed
remarkable promise the musicians of Russia took an extraordinary
interest in him. He appeared in public at the age of six and before he
was ten years of age he was the most celebrated child prodigy of his
time. He traveled thousands of miles, including tours of America,
playing complicated classical compositions in a manner which surprised
musicians everywhere. Fortunately for his health and education his tours
were terminated in time for him to study for the advanced work of the
more mature artist. Accordingly he was placed with the great Anton
Rubinstein with whom he remained for two years. At seventeen he resumed
his concert work again appearing in Dresden in 1894. By thoroughly
dignified methods, scholarly analysis, and his natural poetical sense
Hofmann introduced new ideas in virtuosoship which made him immensely
popular at once.

[Illustration: JOSEF HOFMANN]

XII

PROGRESS IN PIANO STUDY

JOSEF HOFMANN

The question of progress in pianoforte playing is one that admits of the
widest possible discussion. One is frequently asked whether the manner
of playing the pianoforte has undergone any change since the time of
Hummel, and, if it has advanced, of what nature are the advances, and to
what particular condition are the advances due. Johann Nepomuk Hummel,
it will be remembered, was contemporary with Beethoven, and was, in
fact, a kind of bridge between the old and the new. He made his debut at
a concert given by Mozart at Dresden. For a time he was a kind of
assistant _kapellmeister_ to Haydn, and indeed many at that time thought
his works were quite on a par with those of the great master, Beethoven.
Hummel was a really great virtuoso, and was noted for his remarkable
improvisations. His style of playing was taken as a model in his time,
and consequently we may safely start with this epoch by way of example.

WHAT DETERMINES CHANGES IN PLAYING

It is sometimes said that the changes in the construction of the piano
have caused a different treatment of it, but this reasoning is
superficial, inasmuch as the structural changes of the instrument
itself ar