{"id":329,"date":"2003-12-11T11:32:51","date_gmt":"2003-12-11T16:32:51","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2003\/12\/time_wounds_all_heels_horowitz\/"},"modified":"2003-12-11T11:32:51","modified_gmt":"2003-12-11T16:32:51","slug":"time_wounds_all_heels_horowitz","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2003\/12\/time_wounds_all_heels_horowitz\/","title":{"rendered":"TIME WOUNDS ALL HEELS: Horowitz Unbound"},"content":{"rendered":"<p><a href=\"http:\/\/www.vladimirhorowitzmusic.com\/\" target=\"_blank\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/www.sonymusic.com\/images\/selection\/100\/so93023.gif\" width=\"100\" height=\"80\" align=\"left\" alt=\"Vladimir Horowitz\"><\/A><br \/>\nThey don&#8217;t sell classical music like they used to. Back in the day, if piano titans such as Rudolf Serkin or Artur Rubinstein hit a rough note in the middle of a concerto, engineers would simply patch it up to make it sound perfect. It&#8217;s called &#8220;sweetening,&#8221; and the practice has become such a routine part of the music business that many performing musicians look down on recordings as artificial and illegitimate.<BR><BR><br \/>\nNow for the predictable retro backlash: it has become chic to put the wrong notes back in. The latest Vladimir Horowitz release is a &#8216;cleaned up&#8217; version of his 1965 comeback concert in Carnegie Hall. In other words, it does away with all the fixes the original recording engineers patched in from rehearsal tapes. (Luckily, a second unedited tape of the concert was preserved.) For pianists and Horowitz aficionados, this new release boasts not only the quietest digital processing, but the original &#8216;raw&#8217; performance without any audio band-aids&#8230;<br \/>\n<BR><BR><br \/>\n[Click <a href=\"http:\/\/www.publicbroadcasting.net\/wbur\/arts.artsmain?action=viewArticle&#038;id=578176&#038;pid=30&#038;sid=2\" target=\"_blank\">here<\/A> for more&#8230;]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>They don&#8217;t sell classical music like they used to. Back in the day, if piano titans such as Rudolf Serkin or Artur Rubinstein hit a rough note in the middle of a concerto, engineers would simply patch it up to make it sound perfect. It&#8217;s called &#8220;sweetening,&#8221; and the practice has become such a routine [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-329","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/329","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=329"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/329\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=329"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=329"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=329"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}