 "New York Times" music critic Harold C. Schonberg countered that reviewers such as Thomson and Steinberg were unfamiliar with 19th-century performance practices that informed Horowitz's musical approach.Many pianists (such as Martha Argerich and Maurizio Pollini) hold Horowitz in high regard,  and the pianist Gulda referred to Horowitz as the "over-God of the piano".Horowitz's style frequently involved vast dynamic contrasts, with overwhelming double-fortissimos followed by sudden delicate pianissimos.