Yeah, Richter’s dedication was really something else.
He never stopped learning new rep at a frightening pace too.
I think his hearing “shift” in the later years was due to overwork, man, what a fucking encyclopedic rep and stamina.
I also read the story about him being fired by the Curtis Institute, though he was one of the “must-have” teacher when the Institute was founded.
I believe it’s in the liner notes of one of the Hofmann volumes.
IIRC there are a few other late recordings that exist but the producers decided not to release them because they are allegedly of Hofmann in such bad form they are a disservice to Hofmann’s memory. I respect their decision but personally I would have liked to have everything that exists released. Especially since they had the space to accommodate them on the last volume.
Didn’t Richter spend a lot of time painting and studying art? Not to mention other musical forms like opera.
well, if it’s THAT bad, and it doesn’t contain any rep - no need to release, I think 
Yes, and he had a considerable talent for it but I don’t think you could say he ever really pursued it in the same way as Hofmann with his inventions, composing and pedagogical activities.
All about the booze effect, etc. for Hofmann, and Richter’s other art interests/abilities were considerable–all true. And it’s a shame that Hofmann robbed himself and listeners of what could have been another 10-20 years of fine performances.
Another cause of Hofmann’s artistic fall was that he didn’t like to practice as he himself admitted. Also, I think mentioned by another, his musical curiosity seemed to focus on myriad ways of playing the pieces he played, but not expanding his repertory much in the later half or more of his life.
Lastly, while of little musical value, Hofmann’s mind was also occupied by mechanical issues, as well as electrical, hydraulics, etc. and was an inveterate tinkerer since the days he obtained a recording cylinder phono from Edison. I think Hofmann also held patents in the US for items such as automobile shock absorbers, etc. and seemed to his enjoy his workshop more than his studio. Ah, well, our loss, but my car ride is smoother.
It’s also a shame that while Hofmann did make test pressings for Colombia, RCA and HMV in 1935 -he never signed with them.
Until at least 1940 or even later - Hofmann could be in TOP shape on many occasions.
He could have documented his repertoire nicely had he signed with HMV, I’m sure they would have captured him in trademark rep which he played during this period:
Bach-Busoni Chaconne
Beethoven Op 110
Liszt DJ, HR12, Polonaise 2, Mephisto 1
Chopin Sonatas 2, 3, 24 Preludes
Schumann Carnaval
Godowsky Flederfuckah