One of the most disputable musicians, possibly the greatest pianist of all times, Horowitz indisputably possess a technique transcedental and a temparament volatile. No one pianist has interested as much discussion and dispute among critics and music lovers. Sometimes, love and hatred coexist regarding the playing of this giant of the keyboard. His expressions were often damned exageration and he was accused of replacing himself for the composer. Nevertheless, his virtuosic gifts and revolutionary treatment of music could always be sure to stir up enthusiasm and admiration, though as a by-product, accusation.
Born in Kiev in 1904, Horowitz was brought up in Russia till he made his tour to the West at the age of twenty-one. He conquered Berlin and New York with Tchaikovsky Piano Concerto No.1. To me, this work represents the peak of Horowitz's creative power. Horowitz recorded this piece no less than four times. The live recording made in 1943 with his father-in-law Toscanini is indispensible for any music lover. The famous theme of 'struggle' could not have been more fully realized. The delicacy and variety of color and phrasing of the first movement were in a calibre of his own. Richter achieved the same subtle delicacy but the strength is missing. Argerich (in her more widely-praised reading with Dutoit) out-blazed with stunning virtuosity, but she fails to capture the mysterious variety of mood and color. She ended the movement triumphantly. Yet she was simply outclassed by Horowitz who showed her what an 'explosion' really meant. He did not simply threw out the double octaves on its closing page with breath-taking brilliance. He subtly balanced his two hands so as to give the sound picture a sense of dark mystery beneath that blazing surface. He concluded the first movement with an anticipation of the real battle to come in the third movement. When the third movement did come, unlike most other pianists, Horowitz did not rush to fire all guns. He discovered Tchaikovsky's intention of letting the left-hand staccato chords in the first subject slowly move up and produced the result of a slow ascension. Whether the rythmic precision here or in the evenness and wonderful shading of the semiquavers leading to the flowing second subject, Horowitz technique in articulation already suffices to make his playing so memorable. When the great moment finally comes (at 4'55) the octaves embrace a sonarity and titanic power that conquers everything, every other pianist. It was truly the final victory of the concerto, of Tchaikovsky and of Horowitz. It is here that Horowitz reigned supreme. Though one may question certain minute details of Horowitz's playing, the greatness of this live performance is indisputable. It is one of the greatest musical experience of our century.
I must also mention Horowitz association with his idol, Rachmaninov, and his three authoritative readings of the Third on discs. Horowitz was lucky to have Rachmaninov at his New York debut. The latter, overwhelmed by Horowitz's playing, offered to rehearse his own Concerto No.3 with Horowitz by playing the orchestral parts on another piano himself. After Horowitz's concert performance of this work, Rachmaninov came to the stage and announced that "Horowitz has conquered the whole work". For half a century, Horowitz made this concerto virtually his own. His close friendship with the Rachmaninov also made him an authoritative interpreter of the composer's works. They also represents some of the finest of Horowitz's outputs. Rachmaninov textural writing is often marred by excessive use of the sustaining pedal. But in the hands of Horowitz, all melodic lines came out with rare clarity. His represents an approach to Rachmaninov's music most in tune with the composer's own style.
For many, Horowitz still represents the highest level of piano playing in pure pianistic terms. It is foreseen that as the method of teaching the instrument becomes more and more systematic, the general technical assurance of today's pianist should also be higher when compared to the older generations of pianists. Is our Argerich throwing off octaves as quickly as Horowitz? Pollini plays arpeggios and scales more evenly than Horowitz even in his prime. Even the disputable Pogorelich put Horowitz to some disadvantage with his spectacular crescendo in his Gaspard recording. But it was Horowitz and Horowitz alone who had that all-embracing control. Sample his Scarlatti Sonatas recordings. Pletnev enshines us with fuller color in his latest recording. So it is natural that a reviewer considers it 'going deeper'. But no one true piano player could not marvel at the impossible delicacy of articulation. This is control! Pianists of the older generation like Cortot are also renowned for their delicacy of their playing. But take Cortot as the unfortunate victim. He had not the necessary strength to bring out large contrast when it was necessary. Most would agree that his Winter Wind Etude is lacking in strength. There is simply no other pianist who has that all-round control at his disposal.
What worries scholars is Horowitz's tendency to be different. Such is the tendency of any great instrumentalist, not excluding Richter, Heifetz and Rostropovich. He liked to emphasize accented chords. A short pause before striking from a high position no doubt increases the dramatic elements. It also eased himself with a good preparation. This was most noticable in the 70s and early 80s when he was already over 70 of age. He tried to produce a big sonarity in a concert hall at the expense of fast fingering (Chopin Ballade No.1 and 4(RCA)). When he was a dozen years younger (less old), he only did this very sparingly and when he had something real to say. In his live recording of Mozart K.331, he used a grander scale than anyone. The first variation movement tells us what bel canto means on a piano. The Alla Turca was taken at a slow pace to balance the structure. Every note was jewelled though Mozartians prefer a lighter crisper touch. To certain extent, I feel his mannerism in the 70s-early-80s period his real downhill. He was trying to achieve what he himself could no longer get hold of...the strength and vigor of youth. In all other periods in his almost 70-year-long career, his playing was phenomenal. I particularly enjoy his Chopin recorded with HMV in the early 30s. There was a simplicity and urbanity which were so perfectly in place. It is true that he did not try to highlight the undercurrent. But it is the effortless beauty which is so much enjoyable. There was the legendary 'thousands shades of color'. There was no pretense and no exageration either. Many of the Chopin recordings he made with RCA in the 40s retained those virtues but more and more Horowitz was heading for dramatic tension. This was perhaps the results of merciless criticism. When an art is too perfect, people always like to see something more human, although this entirely changes the nature of the art. Horowitz fell victim of such criticisms. He created the highest mental tension in the 1951 recording of Rachmaninov 3rd Concerto with Reiner. Not long after he retreated from the concert platform for more than a decade. This was the longest retirement in his career. His retirement period also produced many outstanding recordings. Delicate and extraordinary as they were, they could not match Horowitz earlier recording in terms of effortless virtuosity and subtle tonal control.
(To be continued)
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