of 57. Hoehn's grave is located at the cemetery in Kronberg im Taunus, his last place of residence. His estate is kept in the . The pianist and teacher In addition to his work as a travelling concert pianist, Hoehn had already devoted himself to pedagogical tasks as a lecturer, private tutor and professor since his student years. Hoehn was not interested in the public dissemination of his ideas. This was especially true for the system of touch (piano), which he advocated and which was not published until after his death, without the consent of the artist during his lifetime. Nothing is known about Hoehn's part in the creation and development of this practice method. His pupil Georg Roth is of the opinion that Hoehn's system is a fusion of ideas that can be traced back to the 19th century (Friedrich Wieck, Clara Schumann, Frédéric Chopin, Franz Liszt) through Hoehn's lessons with Lazzaro Uzielli and the suggestions of Eugen d'Albert and Ferruccio Busoni. The composer and editor Alfred Hoehn published a large part of the piano sonatas, sonatines, as well as individual piano pieces and variation works by Ludwig van Beethoven for the Edition Schott. This is an original text, which however does not reach today's standard. Its fingering is in the tradition of older pianism, as can be seen in the editions of Hans von Bülow, Eugen d'Albert, Ferruccio Busoni or Alfred Cortot. This means that the fingering is primarily intended to help adequately represent the musical content of the work of art (articulation, phrasing) and that purely technical questions, such as facilitating difficult passages by means of suitable fingerings or arrangements, are secondary. Modern piano methodology takes a more liberal position here: partial elimination of finger changes for repeated notes, sparing the so-called weak fingers 4 and 5 when other solutions are possible, splitting difficult passages between two hands, and using the pedal already in the fingering arrangement. Reception Hoehn was among others teacher of Erik Then-Bergh (1916-1982), Hans Rosbaud and Gisela Sott who said about him: Hoehn was a first-class artist. He had everything on it—by heart, of course. He came to Hanover in 1933 with Brahms' D minor concerto under Furtwängler. We had been used to the concert up to then in the somewhat relaxed manner of Fischer and Ney, who had no technique at all. And now Hoehn came with this distanced manner, and that