‘Create a philosophy about what you do as a musician’ - Gary Hoffman’s life lessons

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My first teacher, Karl Fruh, was a natural musician with a beautiful tone that inspired me. He had a very sound approach to music and to the cello, which gave me a healthy start on the instrument. When we moved to Florida, I didn’t have a teacher from the ages of 15 to 17. In retrospect, that seems crazy. And yet I think it served me well. My whole family was musical, so I was constantly surrounded by music, and I knew what to practise and get on with. I developed a quest for independence early on, even if not on a conscious level.

It was through my father, who was a conductor, that I first met Janós Starker, with whom I eventually studied at Indiana University. It’s difficult to identify specific pieces of advice he gave me, and that strikes me as a good thing. It means that what he instilled in me was understood naturally and organically. I do, however, remember being struck by his complete knowledge of the human body and the instrument, and how they work together. That understanding was incredibly valuable to me at the time.

What was perhaps most important was how Starker taught me to teach myself, analyse, identify and observe. It’s ultimately the most important thing a teacher can give a student. I often make the comparison with parenting: children need guidelines, but in the end, if they’re dependent on you, how are they going to go out and do it themselves? Yes, teachers form cellists and musicians, but most importantly, they form people. That should be the first and foremost consideration.

It is vital to teach by example. If I suggest something but don’t practise it myself, it won’t carry the same conviction. As teachers, we should always be ourselves, while also accepting we aren’t perfect. When a student sees that you are being true to who you are, they will know that they get what they see.

One of my most important influences was David Golub, a very close friend and pianist with whom I played early on. He unfortunately died at the age of 50. He helped me see music almost in the way a composer does, understanding what is essential and how everything comes together. And with a conductor as a father, I also developed a view of music through a conductor’s eyes. Having these holistic approaches has been invaluable. And it’s from there that you then find physical solutions.

When making big decisions, do it for your own reasons, not someone else’s. Then, even if it doesn’t work out, at least it was your choice. It’s all a part of being true to yourself, which I stress to young musicians today. You need to know yourself and how to make that fit into this world – what you need to incorporate and what you don’t. There are things you shouldn’t compromise on if they are integral to who you are. It will help you create a philosophy about what you do as a musician.

INTERVIEW BY RITA FERNANDES