Well, actually I like scriabin version more than Horowitz.
I've heard Scriabin's recording, and while he does have a more forward push throughout the piece, it is still very creative. Scriabin also never played any piece the same way twice. They were very emotionally connected with him and subject to his frame of mind at the time. In Scriabin, as with much Russian music, there is always a large amount of emotion and bravura that goes along with the Russian culture.
Also, Scriabin was considered insane by contemporary music critics -- partly because they only saw his music as a succession of dissonant chords, but also because he considered himself to be the Messiah, or God in the flesh. He was very interested in eastern mysticism and believed the performance of his unfinished work "Mysterium" was going to end the world as we knew it, and the human race would thus be transformed into higher beings.
All this is to say that a straight rush through the piece is not necessarily the most authentic way to go about this or any of Scriabin's works. Scriabin was a complex person, and his works reflect this. I think there is so much potential in this etude to exploit this aspect. Generally, as in most etudes, it is not correct to change tempos often and play around with the continuity of the work, but in Scriabin I think it is necessary. This is why I suggest to bring out more expression. Make some of the melody notes uneven in duration -- such as the faster octave leaps. When you have the audience ready to accept a certain way you play some of the phrases, change it up. Give the piece breathing room and it will be more effective.
Topic: Scriabin Etude Op.8 No. 12