Undoubtedly a professionally proficient pianist, of high pedigree, at times intimidating. Best parts are reflections on Anton Rubinstein, his teacher and model for excellence. Second half of book is Q&A. It was cool to briefly hear about 'dumb pianos' (I'm constrained to practicing on a digital piano but wish for an acoustic one). This whole book is restricted to the turn of the century, so it predates radio and recordings. Hofmann comments that he could not hear Liszt play because he was sixteen when the legend passed away. Today, well, what do you mean you've never heard Liszt play? All these guys are gone. Even for Hofmann, he more or less admitted that his generation was not on par w/that of Liszt, Rubinstein, Chopin, Thalberg et. al.

This is for pianists that take themselves seriously for it brooks no mediocrity. It's not a technical book but the tone of Hofmann is one of delicacy & mastery. Aspirants like myself will be reminded regularly that there are levels, and levels, and more levels above those levels. Hofmann had a brilliant father, who was a musician himself, and who took the boy to see performances of pianists. He had from quite early on, built a repertoire, and blessedly landed under the tutelage a titan, the one Anton Rubinstein. His career was destined to be successful. He's a pretty good pedagogue, there are many tidbits of wisdom or guidance regarding the shape of the hand & fingers, or the position of the feet, or whether or not scales are useful. His comments on legato were illuminating. All in all, solid, valuable read.

I can’t imagine Hofmann having a detailed book of piano learning. His language is simple and straightforward, using common words to explain piano playing actions. A book is required revisiting.

This book combines two books published by the great pianist Josef Hofmann in the early twentieth century. The first, Piano Playing, is shorter and written in chapters. The second, Piano Questions Answered, is a compilation of Hofmann's replies to questions submitted by readers of the Ladies' Home Journal, to which he was a contributor.

The most valuable part of this book is Hofmann's chapter on his studies with Anton Rubinstein, a legendary pianist who, like Franz Liszt, died shortly before the era of recording. Hofmann paints a vivid picture of what a lesson with Rubinstein was like, and of how he had to travel to get there.

The rest of the book is filled with Hofmann's advice on often mundane aspects of piano playing. He writes well (assuming there was no ghostwriter involved), especially for someone born in Poland for whom English must have been a third or fourth language. But his recommendations reveal a fundamentally conservative mindset. He categorically dismisses both ragtime/jazz and early 20th-century modernism as impure and harmful. He also casually tosses off comments about female pianists and teachers along the lines of "There are some good ones, but of course they are in the minority."

In terms of practical advice to the pianist, I can't say I took away much from this book that is not common sense or part of typical piano training. As I've already mentioned, the best part was Hofmann's description of how his final teacher, Anton Rubinstein, taught. My advice is to read that chapter and skim/skip the rest.

did not enjoy this book. for such a celebrated pianist/teacher, he did not show much sincerity or interest in the soulful part of music-making. it is a cold and uninspiring book.

The book designed in Q&A format.
Categorize question type into each chapter e.g. fingering, teacher, exercising, legato, staccato, octave.

A good read for piano player who wants to get the perspective from Josef Hofmann.
However, the language in this book is archaic since it was written in 70s, hence it is difficult
to interpret long sentences and uncommon words at times.

Interesting aspect from a Rubinstein's student, a delightful read.

This is a fine book, took a while to read because of a slump. But I must say: DO NOT BUY THIS EDITION. This is the most poorly printed book I have read in my life- massively ajar margins, horrible binding, and entire pages and charts and images from the original are entirely missing. This was probably literally printed from a word document- its all in one size of times new roman, ignoring all of the formatting. This is a rape of the book written by the author and a battery against the reader.

Quite lengthy, and needs time set aside to read.

Perhaps another time.

I'm half done, and I love this book! Can I give it about twice as many stars? I look at other comments about it and I haven't yet reached the parts that inspire the complaints; I am neither the best piano teacher, nor the best piano player, nor have I been taught by the best musicians in the world; but if ever there was a book that put into words all the thoughts I've ever had about teaching and being taught, this is it--kindred spirit! No, what makes me most glad is that he's human (with all the good and bad implied) more than he's a musician (and I don't think anyone would argue that he wasn't a musician). I've read books where the musician in the author has taken over the human, and that's sad. Music is supposed to teach us more about humanity, and Josef Hofmann became more real and warm and sympathetic and friendly as a result of his musical training and performing. This is what I'm trying to get my students to learn, no matter how well they ever play. This is what I get out of having played piano my whole life. I guess I should point my students to this book (and some others) and see if they understand and agree with this book; that would be a better assessment tool than some things people come up with.

I'm sure he was a fine pianist, but he was also mind-bogglingly offensive. Here's what Hofmann had to say about "rag time" piano:

"The touch with vulgarity can never be but hurtful, whatever form vulgarity may assume -- whether it be literature, a person, or a piece of music. Why share the musical food of those who are, be it by breeding or circumstance, debarred from anything better? The vulgar impulse which generated rag-time cannot arouse a nobel impulse in response any more than 'dime novels' can awaken the instincts of gentlemanliness or ladyship. If we watch the street-sweeper we are liable to get dusty. But remember that the dust on the mind and soul is not so easily removed as the dust on our clothes."

There are better books on this subject, to be sure.

Easy to read. Some helpful observations. Overall delightful.

Josef Hofmann was a remarkably down-to-earth character for a virtuoso. Unlike a lot of opinionated pedagogues I've read through the years, he rarely says "this is the only way". He frequently says, "this technique can work" - but only if it works for you, if not don't push it. He made me want to get back to learning how to play quicker - as it is now, I can play Mozart's slow movements - but the movements on either side of them are slow.

He is cognizant that everyone's hand is different. My old piano teacher used to be driven to distraction because my thumb bent at its top joint - a genetic quirk of my hand. She thought I was intentionally bending that thumb and was increasing tension. Never really got it through to her that it was never a problem...Hofmann would have just said "C'est la vie".

And he also is realistic in that there are some pieces that you just won't be able to do because of your hand - let them go, rather than contort or something worse. It's not like there aren't several lifetime's worth of piano literature to go through.

One of the best parts of the book are the questions that real students have - things that perplex a student that are second nature for advanced. Sometimes he has real answers (but there are a few that aren't really helpful).

If you come across this book and are a piano player - I recommend it. But I wouldn't seek it out.