Controversial Stature
Harold C. Schonberg has argued that Hofmann was the most flawless and possibly the greatest pianist of the 20th century. HMV and RCA unsuccessfully pursued recording projects with Hofmann in the 1930s. Rachmaninoff dedicated his Piano Concerto No. 3 in D minor (1909) to Hofmann, although Hofmann disliked it and never played it. Older generation critics such as James Huneker labeled Hofmann the "king of pianists", and Samuel Chotzinoff called him the "greatest pianist of our time." Contemporaries such as Rachmaninoff, Ignaz Friedman, Josef Lhévinne, and Godowsky considered Hofmann to be, overall, the greatest pianist of their generation, but the acclaim was not so universal from the next generation of pianists. In his autobiography Arthur Rubinstein criticized Hofmann as someone who took interest in only the mechanics of music and not in its heart or spirituality, and commented that at the end of Hofmann's career "he was left with nothing after his technique left him". Claudio Arrau dismissed Hofmann (along with Paderewski) as someone who only happened to be very famous and said "I didn't know what to do with him". Sviatoslav Richter, after listening to a Hofmann RCA test pressing of the Scherzo from Beethoven's Sonata in E-flat, Op. 31, No. 3, considered the older pianist to be technically "stunning", but noted that Hofmann ignored the composer's sforzando markings; while György Sándor has called him the greatest of all 20th-century pianists in terms of music, interpretation, and technique. Hofmann's own student Shura Cherkassky compared Horowitz favorably with Hofmann as follows: "Hofmann was possibly the greater musical mind. But, I think, Horowitz was the greater pianist, the greater virtuoso—he somehow appealed to the whole world. Hofmann could not communicate on that level".
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