ABSTRACT Few pianists have been as acclaimed or as abominated as Vladimir Horowitz. Long ago the subject of a notorious hatchet-job by Michael Steinberg in the New Grove Dictionary of Music, and of an equally trenchant, if undeniably wittier, defense by Richard Taruskin in the New York Times, Horowitz’s playing polarized critical opinion in a manner clearly unattainable by polished mediocrity. But now, nearly thirty years after his death, the time is finally ripe for a reassessment of his artistry and public persona, not least because of the recent release of dozens of live recordings from the later decades of his career. These recordings not only allow a hitherto unattainable overview of Horowitz’s pianism, but prompt a reevaluation of his earlier discography. Moreover, they provide evidence for an analysis of the myths surrounding the art of interpretation in general. Horowitz was routinely castigated by critics for alleged crimes against acceptable practice, while idolized by audiences for many of the same reasons. A reappraisal of Horowitz’s legacy serves to evaluate its place in the history of pianism and seeks to illuminate competing esthetic perspectives on the art of interpretation itself, arguing that for nearly two centuries many pianists and critics have been missing the point: some supposedly purely musical issues in performance practice have as much to do with concepts of ethics and ownership, authority and morality, as with art.

中文翻译：

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他们仍然讨厌霍洛维茨吗？重温“最后的浪漫”

摘要 很少有钢琴家像弗拉基米尔·霍洛维茨 (Vladimir Horowitz) 那样受到赞誉或憎恶。很久以前，迈克尔·斯坦伯格 (Michael Steinberg) 在《新格罗夫音乐词典》(New Grove Dictionary of Music) 中臭名昭著的斧头工作的主题，以及理查德·塔鲁斯金 (Richard Taruskin) 在《纽约时报》(New Grove Dictionary of Music) 中同样犀利但不可否认的机智辩护的主题，霍洛维茨 (Horowitz) 的演奏方式明显使批评意见两极化光鲜的平庸是无法达到的。但现在，在他去世将近三十年后，重新评估他的艺术和公众形象的时机终于成熟，尤其是因为最近发布了他职业生涯后期几十年的数十张现场录音。这些录音不仅可以让人们对霍洛维茨的钢琴演奏进行迄今为止无法实现的概述，而且还促使人们重新评估他早期的唱片。而且，它们为分析围绕一般解释艺术的神话提供了证据。霍洛维茨经常因涉嫌违反可接受的做法而受到批评者的谴责，同时由于许多相同的原因而受到观众的崇拜。重新评估霍洛维茨的遗产有助于评估其在钢琴演奏史上的地位，并试图阐明关于解释艺术本身的相互竞争的美学观点，认为近两个世纪以来，许多钢琴家和评论家一直没有抓住重点：一些据称纯粹的音乐问题在表演实践中，伦理和所有权、权威和道德的概念与艺术一样多。