Vladimir Horowitz Quotes

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

Perfection itself is imperfection.

My face is my passport.

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

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.

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

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.

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

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

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.

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.

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.

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.

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.

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.

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.

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

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