Following these, it introduced its readers to new
compositions by Sir Arthur Sullivan, Tosti, Moscowski, 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.
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