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Updated: June 22, 2025
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.
Now, in the reading-room of Hofmann's Hotel, near the harbour, he wrote him a letter. Dear old George, My fingers are clammy. I am constantly dipping a broken pen in mouldy ink; but if I don't write to you now, you won't get any news of me for three weeks. This evening I board the Roland of the North German Steamship Company. There seems to be something in your dreams.
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.
From E. T. A. Hofmann's "Der Kampf der Sanger" he got the second scene of the first act, the hunt and the gathering in the valley below Wartburg; from Ludwig Tieck's "Der getreue Eckhart und der Tannhauser" the narrative of the minstrel's pilgrimage to Rome.
He was equally surprised at the simple beauty of the other numbers on the programme, and wondered not a little at his own perfectly absorbed attention during Hofmann's playing of a rather long concerto.
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