VLADIMIR HOROWITZ

My face is my passport.

If you want me to play only the notes without any specific dynamics, I will never make one mistake.

Perfection itself is imperfection.

My future is in my past and my past is my present. I must now make the present my future.

I must tell you I take terrible risks. Because my playing is very clear, when I make a mistake you hear it. If you want me to play only the notes without any specific dynamics, I will never make one mistake. Never be afraid to dare.

I am a general. My soldiers are the keys and I have to command them.

I studied with Felix Blumenfeld, who had studied piano with Anton Rubinstein and composition with Tchaikovsky. Felix, my professor, was the right hand of Anton Rubinstein. Blumenfeld knew his playing by heart, from every angle.

Scriabin, as you know, is a mystic composer. His music is supersensuous, superromantic, and supermysterious. Everything is super; it is all a little overboard. Anyway, my parents were pleased that I played for him.

Without false modesty, I feel that, when I'm on the stage, I'm the king, the boss of the situation.

Always there should be a little mistake here and there - I am for it. The people who don't do mistakes are cold like ice. It takes risk to make a mistake. If you don't take risk, you are boring.

The score is not a bible, and I am never afraid to dare. The music is behind those dots.

It is important for the musician to learn as much about the composer as possible and to study the music he has written. Then, even a short piece by Brahms or Chopin can be played with much more understanding.

I may play the same program from one recital to the next, but I will play it differently, and because it is always different, it is always new.

I was a terrible student. For me, to take a book home was a trial.

Imitation is a caricature. Any imitation. Find out for yourself.

Life is very busy now. I find that in today's cities, the public is very tired after working the whole day. When concerts start at eight o'clock, the wife pushes the husband to go to the concert, where some promptly fall asleep!

Scriabin slept with Chopin under his pillow, and I slept with Wagner under mine. I could not concentrate on memorizing Bach fugues, but I had all of 'Gotterdammerung' in my fingers.

The most important thing is to make a percussive instrument a singing instrument. Teachers should stress this aspect in their instruction, but it seems that very few of them actually do.

As far as practicing is concerned, I usually try to do one to two hours a day. It isn't good to practice too much, or your playing becomes too mechanical.

I loved singing. But can you imagine my voice in an opera house?

To be able to produce many varieties of sound, now that is what I call technique, and that is what I try to do. I don't adhere to any methods, because I simply don't believe in them. I think each pianist must ultimately carve his own way, technically and stylistically.

Behind the notes, something different is told, and that's what the interpreter must find out. He may sit down and play one passage one way and then perhaps exaggerate the next, but, in any event, he must do something with the music. The worst thing is not to do anything.

For me, the intellect is always the guide but not the goal of the performance. Three things have to be coordinated, and not one must stick out. Not too much intellect because it can become scholastic. Not too much heart because it can become schmaltz. Not too much technique because you become a mechanic.

I tried playing for the public, and I selected music that I thought would be pleasing to them. Times are different now. Today, I play the music I want, and I just try to do my best.

You have to open the music, so to speak, and see what's behind the notes because the notes are the same whether it is the music of Bach or someone else.