“I heard Edwin Fischer, who did not mean much to me. I heard another pianist in Berlin who had a big success and I thought he was awful — Mischa Levitzki. Just fingers, and you cannot listen only to fingers. There is a difference between artist and artisan. Levitzki was an artisan. But Ignaz Friedman, who I admired, was a great artist. He had wonderful fingers and a very personal, individual way of playing, even if some of his ideas were very strange to me. He had no hesitation touching up the music. I got annoyed with him at one concert when he changed the basses in Chopin's F minor Ballade. I didn't like that. For some reason he was happier making records than he was on the stage.”

— Vladimir Horowitz

quoted in Harold C. Schonberg, Horowitz: his life and music

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Vladimir Horowitz 6

American classical pianist and composer 1903–1989

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“I liked him [Rubinstein] as a pianist. He was a good musician and had a fantastic repertoire. He never had a great technique, but certain things he played well. I heard him play some of the Chopin etudes, the easier ones with great panache and I told him I had never heard them played better. He said, "Do you mean it?"”

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and I said, "Yes, I do mean it."
Vladimir Horowitz, quoted in Harold C. Schonberg, Horowitz: his life and music (1992)
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“I liked him [Arthur Rubinstein] as a pianist. He was a good musician and had a fantastic repertoire. He never had a great technique, but certain things he played well. I heard him play some of the Chopin etudes, the easier ones with great panache and I told him I had never heard them played better. He said, "Do you mean it?"”

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and I said, "Yes, I do mean it."
quoted in Harold C. Schonberg, Horowitz: his life and music

“I am not an artist and never have been. Rather I am like a craftsman and feel very close to the mediaeval artisans who produced their work anonymously and who, along with their apprentices, had a true feeling for the physical materials they were working with.”

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“Everything depends, of course, on the shape of the hand, and it must be stressed that there is no type of hand which is more suited to the piano than another. One of the greatest pianists that I ever heard—certainly the most remarkable in his control of the widest possible range and variety of tone color—was Josef Hoffman, who had a hand so small that he could reach no more than an octave; Steinway built him a special piano in which the ivories were slightly narrower so that he could reach a ninth. His friend Sergei Rachmaninov had a very large hand, as did Rudolf Serkin, and Sviatoslav Richter could not only reach a twelfth but could play the last chord of the Schumann Toccata without arpeggiation—an effect which would certainly have astonished the composer. My teacher, Moriz Rosenthal, famous for his technique, had a small hand with stubby fingers; Vladimir Horowitz's fingers were exceptionally long, while Robert Casadesus had fingers so thick that he had trouble fitting them in between the black keys. There is no such thing as an ideal pianist's hand.”

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