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I heard that Sofronitsky would get so nervous before a performance someone had to physically push him onto the stage and then he wouldn't dare to turn around and leave the stage once he was on it

Martha Argerich...

http://www.nytimes.com/2008/08/03/arts/television/03schw.html?ref=topics&_r=0

My teacher used to refer performing in public as "battle conditions." A certain amount of nervousness can help one to attain maximum alertness, and can even help elevate a performance to a higher level. Listen to Rubinstein live compared to his studio recordings as an example. The negative side can be reflected in Kapell's comment about the first 10 minutes of each performance being riddled with nerve induced mistakes - along with getting used to the piano and the acoustic. Horowitz suffered from nerves to the extent that his hands can be seen shaking in some performances - usually near the beginning. Obviously if nervousness becomes debilitating it's not merely going to be reflected in the performance, but can actually lead to more serious issues. For those in the latter situation who've exhausted options, my advice is not to undertake a career that involves performance. There are plenty of ways to be involved with music without having to step on stage.

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I heard that Horowitz's programs sometimes accounted for his nerves. For example, when he took up playing the Liszt sonata again in the 1970s, he would always start off a recital with a shorter piece, then play the sonata after, for fear of missing that opening octave leap.

I heard that Horowitz's programs sometimes accounted for his nerves. For example, when he took up playing the Liszt sonata again in the 1970s, he would always start off a recital with a shorter piece, then play the sonata after, for fear of missing that opening octave leap.

Horowitz generally started his programs with more lyrical works, such as Scarlatti, Mozart, or Haydn Sonatas, and built to a climax before intermission. Then some lighter fare, followed by a barn-burner for the closing piece. The first encore would invariably be a lyrical work, such as Schumann's Traumerai or Debussy's Serenade to the Doll.

http://www.vladimirhorowitz.hostzi.com/1_4_Concertography.html

Here's the quote that I remembered:

November 21, 1976: Powell Hall, St. Louis, Missouri


Clementi: Sonata Op.33, No.3
Chopin: Nocturne, Op.72, No.1
Chopin: Waltz, Op.34, No.2
Chopin: Introduction and Rondo, Op.16

Liszt: Sonata in B minor
Encores:
Schumann: Träumerei, Op.15 No.7
Moszkowski: Etincelles, Op.36 No.6

- This was the only time Horowitz structured a program that included the Liszt Sonata in such a fashion. The unedited recording likely explains what happened: Horowitz opens the Sonata with a plethora of wrong notes. Then, his playing improves. Perhaps Horowitz felt that in the case of the Liszt Sonata, he required a warm-up beforehand. From this point on, he always programmed another piece in front of it.