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The guests had already drunk the health of the master of the house at the table, and then that of his amiable wife what greater honour could they pay their popular host and hostess now than to drink the health of the boy their boy? Dr. Hofmann, the tried doctor and friend of the family for many years, asked if he might have the privilege of saying a few words.
The Schliebens overwhelmed their doctor with reproaches. Why had he not told them it long ago? He must surely have known. Why had he left them in such ignorance? Dr. Hofmann defended himself: had he not again and again exhorted them to be careful? He had been anxious about the boy's heart ever since he had had scarlet fever, and had not concealed his fears.
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.
Bok loved music, was a pianist herself, and sought to acquaint her husband with what his former training had omitted. Hofmann and Bok had become strong friends outside of the editorial relation, and the pianist frequently visited the Bok home. But it was some time, even with these influences surrounding him, before music began to play any real part in Bok's own life.
It was very satisfying to him to hear his wife play in the evening; but when it came to public concerts, they were not for his masculine nature. In other words, Bok shared the all too common masculine notion that music is for women and has little place in the lives of men. One day Josef Hofmann gave Bok an entirely new point of view.
You must have the "n" of the piano, like Pachmann, Rubinstein, Rosenthal, Hofmann, Frederick Dawson, Madame Schumann, Fanny Davies, Agnes Zimmermann, Leonard Borwick, Nathalie Janotha, Sapellnikoff, Sophie Menter. Even for other instruments, including the human voice divine, the "n" is advisable. Paganini, Jenny Lind, Norman Neruda, Christine Nilsson all patronized it largely.
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