“The first of a series of piano-forte soirées was given by Mr. Richard Hoffman, at Chickering Hall, on the 23d [sic] ultime. The audience was of that exclusively fashionable character which we always find at entertainments given at Chickering Hall, and notable at those given by Mr. Richard Hoffman. The artists assisting Mr. Richard Hoffman were Mr. Joseph Burke and Mr. F. Bergner.

Mr. Hoffman chose a wide range for the display of his eclectic abilities as a pianist. He essayed Schubert, Handel, Mendelssohn, Chopin, Schumann and Gottschalk, and interpreted each master in a faultless manner. In level piano playing, where eccentricities do not prevail, he has but few equals; thus his interpretations of the classic writers are always marked by pure taste and fine appreciation. In these he always satisfies and delights. In the concerted pieces his rare excellence was so much a foregone conclusion, that to refer to them is altogether unnecessary. The Handel Concerto, however, may be remarked upon as a performance worthy of the highest praise. The straightforward, clear and majestic thoughts of Handel, so squarely and strongly expressed, were interpreted by Mr. Hoffman in kindred spirit. His touch was fine, his execution clean, and every point was made to tell with effect.

Chopin’s lovely work, opus 22, was interpreted finely by Mr. Hoffman. The Andante Spianata was delicately executed; the poetic sentiment which distinguishes all Chopin’s compositions was faithfully preserved and its yearning tenderness touchingly simulated. The Polonaise was a brilliant and effective example of pianism. He played his own compositions in a dashing and telling manner, and won an enthusiastic encore, to which he responded by playing a selection from Gottschalk, in a manner so truly characteristic and masterly, that it brought the lamented composer almost bodily before us. Even he would have been satisfied with this perfect interpretation. In all respects this soirée was a true artistic success.

Mr. Hoffman played upon one of Chickering’s loveliest grands—lovely as well as noble. We have rarely heard, even from this famous house, so perfect an instrument.” [Reprinted New York Post, 02/18/73, p. 2]

“The first of a series of three chamber concerts was given by Mr. Hoffman on Saturday evening at Chickering’s Hall. Mr. Hoffman is peculiarly fortunate in his surroundings. He has, in the first place, the best, handsomest, and most tastefully fitted concert room in the city, of exactly the right size for chamber music, and perfect in its acoustics. He has the assistance, as was also the case last winter, of two exceptionally good artists, Mr. Burke and Mr. Bergner, and his list of subscribers comprises a little circle in close sympathy with the class of music presented, and many of them in kindly relations with the giver of the concert. This last is no slight matter, for a friendly and sympathetic audience is much more inspiring to the player than a random audience listening in an indifferent and cold mood.

The programme was unexceptionably good, and consisted of the following selections [see above].

The strongest pieces were, of course, the Schubert and the Mendelssohn compositions. Schubert wrote but two trios, but those were composed when he was in the fullest and freest exercise of his great powers, and both mark the high tide of his genius. They are numbered 99 and 100, and though the latter is the work of the highest inspiration, the one played on Saturday evening is but little inferior in grace of melody and freedom of treatment. It was played with exquisite feeling and unity by the three musicians. Those who were also present at the Rubinstein chamber concert, at which this same trio was given, will not have failed to notice the different coloring that it received on the two occasions. Especially, the last movement was taken by Rubinstein at a tempo almost double that which Hoffman gave to it. But Rubinstein is much too often at the full gallop. His impetuosity of nature combined with his prodigious technique sometimes carries away his judgment, and in certain movement allowing of rapidity he looses himself upon the key-board like a whirlwind. The effect is exciting certainly, but it is to be doubted whether it is the effect that the composer aimed at. The calmer and more equal interpretation that Mr. Hoffman gave to this particular movement is, we believe, to be preferred.

The Schumann songs were beautifully rendered by Mr. Burke with the true spirit and emotion. To deprive such lovely songs as these of the equally lovely words of Ruckert, Eichendorf, and Heine, is of course a great loss to them, nor is the violin, even when so delightfully played, an equivalent for the voice; but they are better so than in the hands of any but a first-rate singer.

Mr. Hoffman’s solos were especially interesting. He played Agnes Zimmerman’s arrangement of the Harpsichord concerto, Handel’s ‘Harmonious Blacksmith,’ Chopin’s polonaise, Gottschalk’s ‘Murmures Aeoliennes,’ and two of his own compositions, the latter being the Crispino arrangement, which with the exception of certain of Liszt’s, we have always considered the most brilliant and effective arrangement of operatic airs ever put together. He played with a finish, delicacy, and fire, such as we do not remember to have heard him excel on any previous occasion.”