When I began accompanying silent films in college, there was very little in the way of resources. I was, however, loaned a copy of a small monograph on the subject written by Charles Hofmann, who had been one of the Museum of Modern Art’s film pianists. Hofmann seems to be something of a blip on the radar in the lineage of post-silent-era accompanists, and was only at MoMA for around a year.
The small, purple hardbound book had been published in 1970, and contained a good deal of history on film accompaniment from he silent era. The book also contained, if my memories going back that far are to be trusted, a small flexi-disc of Hofmann playing selections for films.
I’d been loaned the book by Charles Silver from MoMA’s Department of Film. I accompanied films for a class he was teaching at the University of Bridgeport, traveling with him to and from Bridgeport from Manhattan, where I was in my 2nd year of NYU film school.
I’ve been a silent film accompanist at MoMA for 35 years now, and over the years I’ve grown interested in the history and practice of film accompaniment at MoMA itself. I’ve learned about Arthur Kleiner, MoMA’s first film pianist and who was there from 1939 until his retirement in 1967. It was a salaried position and Kleiner even had an office at the museum. He recorded two independently produced and released LPs of silent film music during his final year at MoMA.
I knew of William Perry, as I’d grown up listening to his wonderful scores on the PBS series “The Silent Years”, produced by Paul Killiam (1971, 1975), and had heard him play at MoMA a number of times at MoMA. When I began playing for films, I made a point of meeting him and asking him for advice. We’re still in touch. Perry was MoMA’s main film pianist from 1969 through the early 1980s.
Hofmann’s stint at MoMA, however, was sandwiched in between Kleiner’s and Perry’s tenures. I’ve been able to find out almost nothing about his work before and after his playing at MoMA, both in online searches and from speaking with people at MoMA who were around at the time or who had begun working in the department in the 1970s.
This sort of thing is not always that well-documented or paid attention to, it seems. There are certainly a number of film accompanists who played quite a bit in the 1960s and 1970s who are completely unknown, like Paul Norman whom I’ve only recently learned about.
Perhaps my posting this item here will help conjure up some more information about Charles Hofmann and his work as a silent film pianist, at MoMA and elsewhere. Anyone have a copy of that flexi-disc?