{"id":16449,"date":"2022-06-07T16:00:06","date_gmt":"2022-06-07T14:00:06","guid":{"rendered":"https:\/\/www.classical-music.com\/?p=6778"},"modified":"2022-06-07T17:14:09","modified_gmt":"2022-06-07T15:14:09","slug":"the-20-greatest-pianists-of-all-time","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/the-20-greatest-pianists-of-all-time\/","title":{"rendered":"The 20 Greatest Pianists of all time"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By Freya Parr\n                \t\t<\/p><p class=\"rssbyline\">Published: Tuesday, 07 June 2022 at 12:00 am<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p><strong>Great pianists have an aura about them like no other musician. Working their magic on the 88 keys in front of them in repertoire ranging from brilliantly crafted Bach and mercurial Mozart to the flamboyant fireworks of Liszt and Rachmaninov, they inspire admiration and adulation in equal measure.<\/strong><\/p>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> \n<ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/50-greatest-composers-all-time\/&quot;\">The 50 Greatest Composers of All Time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/composers\/best-french-composers-ever\/&quot;\">25 greatest French composers of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/20-greatest-conductors-all-time\/&quot;\">The 20 Greatest Conductors of All Time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/best-string-quartet-ensembles-ever\/&quot;\">10 greatest string quartet ensembles of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/20-greatest-violinists-ever\/&quot;\">20 greatest violinists of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/20-greatest-symphonies-all-time\/&quot;\">The 20 Greatest Symphonies of all time<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><p>\u00a0<\/p>\n<p>But who are the greatest players to have plied their trade in the era of recorded sound (ie since around the beginning of the 20th century)? We asked 100 of today\u2019s finest pianists to have their say \u2013 three votes each \u2013 and here is the list that resulted\u2026<\/p>\n<h2>20 best pianists of all time<\/h2>\n<h3>20. Claudio Arrau (1903-1991), Chilean<\/h3>\n<p>Arrau\u2019s talent at eight was so advanced, the Chilean government paid for him to go to Berlin for the best teacher, and for the next few years Martin Krause, a <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a> pupil, was a father to him, introducing him to a vast range of culture, and helping him develop his transcendental technique.<\/p>\n<p>When Krause died in 1918 Arrau was bereft, and went into psychoanalysis. Gradually he built up an immense international reputation, especially after World War II. Though he could play dazzling virtuoso pieces with the best of his rivals, his real concern was ever more searching, probing of the greatest works, above all <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> and \u2013 at the end of his life, since he regarded <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a> as \u2018the supreme challenge\u2019 \u2013\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>\u00a0in his last masterpieces for <a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/who-invented-the-piano\/&quot;\">piano.<\/a><\/p>\n<p>Arrau was the Faustian among pianists, always dissatisfied and disturbed, while cultivating a warmth and a unique depth of tone. At times his playing was overlaid with self-consciousness to an almost suffocating extent, but in the deepest music he has very few peers.<\/p>\n<p>At the end of his life he made a series of recordings which deserve a life-time\u2019s listening. He found far more in\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>\u00a0than most, so his recording of the Transcendental Studies is a superb way to get deep into both composer and pianist.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Great piano playing requires you to have incredible emotional tension without getting physically tense. That seems simple, but it isn\u2019t.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Claudio Arrau<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Claudio\" arrau=\"\" beethoven=\"\" sonata=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/W0UrRWyIZ74?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p>Essential recording:<br\/>\nLiszt: Studies in the Transcendental Execution<br\/>\nPentatone PTC 5186171<\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/12-Etudes-Dexecution-Transcendante-Arrau\/dp\/B0012K51SI?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<p>\u00a0<\/p>\n<h2>19. Josef Hofmann (1876-1957), Polish<\/h2>\n<p>An astonishing child prodigy from Poland, Hofmann \u2018retired\u2019 at 12 for further study with Moritz Moszkowski and Anton Rubinstein, then resumed his career at 18. Eventually he settled in the US, becoming director of the Curtis Institute of Music. Revered as one of the supreme pianists of his day, Hofmann\u2019s effortless technique permitted a kaleidoscope of tonal colourings and expressive guises ranging from aching tenderness to heaven-storming pandemonium.<\/p>\n<p>The quality of his melodic tone was full and round, and commanding or beguiling by turns; its prominence in the overall texture lent his sonority nobility. His playing also possessed spontaneity, which led him to highlight \u2018inner voices\u2019 and add surprises of dynamics and timing that later listeners can find disconcerting.<\/p>\n<p>His few studio recordings sometimes reveal a clinical craftsman, while in live performance his playing was more temperamental, even occasionally violent. Hofmann\u2019s large repertory emphasised <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>, and the virtuoso character pieces of his time.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>World-oblivious and alone with his instrument, (the pianist) can commune with his innermost and best self.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Josef Hofmann<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Josef\" hofmann=\"\" plays=\"\" piano=\"\" masterpieces=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/FPKnvN7SSI4?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p>Essential recording:<br\/>\nGolden Jubilee Concert (1937) \u2013 Rubinstein: Concerto No.\u00a04<br\/>\nVAIA\/IPA 1020<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Josef-Hofmann-Golden-Jubilee-Concert\/dp\/B015WJBMSC?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/10-piano-concertos-you-may-not-know&quot;\">10 piano concertos you may not know<\/a><\/li>\n<\/ul><h3>18. Walter Gieseking (1895-1956), German<\/h3>\n<p>Gieseking was a gentle giant among pianists, but his supposed politics tarnished his reputation. Although cleared of being a Nazi collaborator, he wasn\u2019t able to play in the US until 1955. He is best remembered as an interpreter of the French School, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/claude-debussy&quot;\">Debussy<\/a> in particular liking his gossamer touch, though his <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a> (the complete solo piano works) and incomplete <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> sonata recordings are also prized for their clarity and classical dignity.<\/p>\n<p>The opening movement of the Moonlight Sonata is almost trance-like, as if Gieseking were reluctant to touch the keys lest the spell be broken. Elegance, nuance and understatement depict his style. \u2018Sophisticated\u2019 is often considered a rude word these days but, in its literal sense, it perhaps best describes him \u2013 his appearance and his playing.<\/p>\n<p>Whereas Wilhelm Backhaus, Edwin Fischer (No.\u00a013) and Schnabel (No. 6) were baritones of the piano, Gieseking was definitely a tenor; compare, for example, his svelte Mozartian <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> Emperor Concerto with Fischer\u2019s aggressive, muscular version, both superb but utterly different.<\/p>\n<p>Gieseking had a wide repertoire which included <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov\u2019s<\/a> Second and Third <strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/what-concerto\/&quot;\">concertos<\/a><\/strong> and, surprisingly, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/pyotr-ilyich-tchaikovsky&quot;\">Tchaikovsky\u2019s<\/a> First. He also championed new music which, sadly, never got to disc. Gieseking was also a great team player \u2013 his near definitive recording of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart\u2019s<\/a> Piano Quintet K542 with the Philharmonia\u2019s fabulous foursome is testament to this.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>One has only to be able to read notes correctly, but that is beyond most performers.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Walter Gieseking<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<iframe title=\"&quot;Ravel\" walter=\"\" gieseking=\"\" complete=\"\" piano=\"\" works=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/8jeRYHOx0NA?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nMozart: Quintet in E flat for piano and wind, K452<br\/>\nTestament SBT 1091<\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Gieseking-Philharmonia-Quintet-Wolfgang-Amadeus\/dp\/B000003XJU\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/5-best-pieces-piano-left-hand&quot;\">Five of the best pieces for Piano Left Hand<\/a><\/li>\n<\/ul><h3>17. Glenn Gould (1932-82), Canadian<\/h3>\n<p><a href=\"&quot;http:\/\/www.classical-music.com\/topic\/leonard-bernstein&quot;\">Bernstein<\/a> called him \u2018the greatest thing to happen to music in years\u2019, yet improbably the defining moment in that \u2018happening\u2019 occurred in an abandoned New York Presbyterian Church in June 1955.<\/p>\n<p>Related to <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/edvard-grieg&quot;\">Grieg<\/a> on his mother\u2019s side, the 23-year-old Glenn Gould recorded <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach\u2019s<\/a> Goldberg Variations, a rebel with a cause, kicking against the prevailing Bachian norm with a mixture of forensic analysis, exhilarating playfulness and dazzling clarity. And <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a> would dominate his eclectic music-making even after the one night stand of the concert platform had given way to a lifelong relationship with the studio.<\/p>\n<p><a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a> were famously \u2018off\u2019 Gould\u2019s radar \u2013 as was <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>, despite a provocative recorded set of the piano sonatas. Schoenberg, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, Brahms and Gibbons (\u2018my favourite\u2019) all received the Gouldian imprint, but\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>\u00a0remained at the centre of his universe, with a second Goldbergs recording preceding his untimely death in 1982. The 1955 \u2018first thoughts\u2019 remain special however: \u2018The record debut of Glenn Gould, a keyboard genius\u2019 as the American Record Guide headed its review.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>My idea of happiness is 250 days a year in a studio<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Glenn Gould<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;J.S.Bach\" goldberg=\"\" variations=\"\" glenn=\"\" gould=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/Cwas_7H5KUs?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nJS Bach: Goldberg Variations<br\/>\nSony Classical 827969038727<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Bach-Goldberg-Variations-BWV-988\/dp\/B0000CD5GE\/ref=sr_1_fkmr0_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><h3>16. Murray Perahia (b. 1947), American<\/h3>\n<p>Hearsay has it that when Murray Perahia enlisted for the Leeds Piano Competition, fellow American competitors, suspecting the game was up, made for the exit. A pupil of Mieczysaw Horszowski, Perahia won with a performance of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin\u2019s<\/a> Piano Concerto No.\u00a01 whose poise and classicism set a marker for the qualities which have proved his hallmark.<\/p>\n<p>Of the Fischer\/Cortot generation (see Nos\u00a013 &amp; 5), he insists \u2018there\u2019s no technique, it\u2019s just speaking\u2019, and a similar unforced directness informed his first major recording project: a translucent, landmark set of the complete <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a> concertos. Other than a <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/b%C3%A9la-bart%C3%B3k&quot;\">Bart\u00f3kian<\/a> aside, the canon from\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>\u00a0to Brahms has absorbed his subsequent attention on disc, the former a fruitful \u2018therapy\u2019 that got him through a period of enforced silence due to hand problems.<\/p>\n<p>Aristocratic without being aloof and devoid of ego, Perahia\u2019s playing transfixes and illuminates. Anointed by the ailing <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/benjamin-britten&quot;\">Britten<\/a> to accompany Peter Pears, Perahia\u2019s Aldeburgh recording with Radu Lupu (No. 13) of the slow movement of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>\u2019s Sonata for Two Pianos is an essay in sublime communion, and a benediction.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>I\u2019m interested in the thing that lasts forever: the thought behind the music.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Murray Perahia<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Murray\" perahia=\"\" and=\"\" the=\"\" academy=\"\" of=\"\" st=\"\" martin=\"\" in=\"\" fields=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/GHmQU9IpBWw?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nMozart: Sonata K448; Schubert: Fantasia D940, both with Radu Lupu<br\/>\nSony 827969301524<\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Four-Hand-Piano-Works-Exp\/dp\/B0000CF330\/ref=sr_1_fkmr0_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<p>\u00a0<\/p>\n<h3>15. Wilhelm Kempff (1895-1991), German<\/h3>\n<p>The core of his repertory was great music of the German tradition \u2013 Bach, Mozart, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a> \u2013 but Wilhelm Kempff played as though he were improvising rather than presiding over a solemn ritual. Gifted with a sensitive touch and a predisposition for intimacy of expression, Kempff\u2019s delicacy caused him to achieve charming, satisfying character in moments where others concentrated on momentum and precision.<\/p>\n<p>Although capable of flights of extroverted virtuosity, he was sometimes cautious with (or made heavy weather of) difficult passages, and endemic to his spontaneous approach is the reality of uneven, variable playing between and even within individual performances. Yet at his best he had an enviable way of making music sound natural and unpretentious while simultaneously tapping into the profound wisdom of artless simplicity.<\/p>\n<p>In addition to German music, his repertory included <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>, and even some <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/gabriel-faur%C3%A9&quot;\">Faur\u00e9<\/a>, and some of his most beloved recordings feature him in his own transcriptions of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a> works.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>In my artistic existence, I have experienced many crises. That was necessary. Crisis leads to growth, and growth is the best thing we can wish for\u2026<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Wilhelm Kempff<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Wilhelm\" kempff=\"\" plays=\"\" beethoven:=\"\" piano=\"\" sonatas=\"\" no.14=\"\" no.27=\"\" op.90=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/Q3X5ZpLNILI?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nQueen Elizabeth Hall Concert (1969) \u2013 Bach, Beethoven\u00a0&amp; Schubert<br\/>\nBBC Legends BBCL 4045-2<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Kempff-plays-Bach-Beethoven-Schubert\/dp\/B00004Y6OI?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><h3>14. Edwin Fischer (1886-1960), Swiss<\/h3>\n<p>Edwin Fischer remains one of the most highly regarded musicians of the 20th century. Equally gifted as pianist, conductor and pedagogue, he was largely responsible for reviving interest in the keyboard music of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>\u00a0and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a> at a time when such repertory featured relatively infrequently in concert programmes.<\/p>\n<p>Fischer was also an early pioneer of scholarly performance practice, emphasising the necessity for interpreters to respect the integrity of the musical text. Yet his performances of the great Austro-German Classical and Romantic repertory were anything but sterile academic affairs.<\/p>\n<p>Like Schnabel his playing was never technically flawless but it was blessed with a miraculously rounded tone which retained its warmth both at explosive climactic points in the music and at those moments that call for a beautifully veiled pianissimo.<\/p>\n<p>His pupil Alfred Brendel commented that on the concert platform Fischer\u2019s \u2018every fibre seemed to vibrate with elemental musical power\u2019. Noting a parallel with conductor Wilhelm Furtw\u00e4ngler, Fischer\u2019s great friend and contemporary, Brendel added that with the pianist \u2018one was in more immediate contact with the music: there was no curtain before his soul when he communicated with the audience.\u2019<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Thick-set players with thick fleshy hands are predestined for the interpretation of works by composers of similar frame, while tall, long-fingered sinewy players are likewise the best interpreters of the works of similarly constituted composers.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Edwin Fischer<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Edwin\" fischer=\"\" plays=\"\" beethoven=\"\" moonlight=\"\" sonata=\"\" in=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/KUZuxBiTtdc?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nJS Bach: Well-Tempered Clavier<br\/>\nEMI 391 9582<\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Well-Tempered-Clavier-J-S-Bach\/dp\/B005ZHB8QI\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><h3>13. Radu Lupu (1945-2022), Romanian<\/h3>\n<p>The elusive Romanian pianist rose to fame in the early 1970s after winning some vital competitions, among them the Van Cliburn (1966) and the Leeds (1969) \u2013 yet his performance style is far indeed from what we think of as a \u2018typical competition winner\u2019.<\/p>\n<p>Lupu was an unpretentious performer, lacking the glitzy veneer of some of his younger colleagues: with the stage presence of a bearded bear, and usually sitting on a chair rather than a piano stool, he presented interpretations that probe deep beneath the surface, eschewing outright virtuoso repertoire in favour of the great Viennese classics. He was one of his era\u2019s most profound interpreters of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, masterfully evoking the latter\u2019s other-worldly aesthetic.<\/p>\n<p>His tone was rounded, velvety, the emphasis on songful phrasing and musical empathy; he never \u2018played to the gallery\u2019 but gave audiences the impression that they are sharing in an intimate exchange of ideas. Having studied with, among others, Heinrich Neuhaus at the Moscow Conservatoire, Lupu maintained in his playing a link to the \u2018golden age\u2019 pianists.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>I would have liked to make a career out of playing nothing but slow movements.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Radu Lupu<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Radu\" lupu=\"\" brahms=\"\" piano=\"\" concerto=\"\" no.1=\"\" in=\"\" d=\"\" minor=\"\" jukka-pekka=\"\" saraste=\"\" frso=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/79lbldvXzFc?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nRadu Lupu plays Brahms<br\/>\nDecca 475 7070<\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Radu-Lupu-plays-Brahms\/dp\/B000BVEKK4\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<p><strong><a href=\"\/\/music.apple.com\/us\/album\/radu-lupu-plays-brahms\/1452545394&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Stream on Apple Music<\/a><\/strong><\/p>\n<ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/six-best-musical-child-prodigies&quot;\">Six of the best musical child prodigies<\/a><\/li>\n<\/ul><h3>12. Ignaz Friedman (1882-1948), Polish<\/h3>\n<p>Born in Poland in 1882, Friedman was among the finest \u2018golden age\u2019 interpreters of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, and of many other composers too \u2013 his innate feel for <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin\u2019s<\/a> Polish rhythms and quasi-operatic melodies was second to none.<\/p>\n<p>He was a pupil of the great Polish pianist and teacher Theodor Leschetizky \u2013 who once said that Friedman had surpassed him technically \u2013 and over the course of a distinguished four-decade career he became a revered teacher himself, as well as a composer, arranger and editor.<\/p>\n<p>Like Alfred Cortot (see No. 5), Friedman had the astonishing ability to transform the sound of the piano into something resembling the human voice. With an expressive and colouristic range that matched his imaginative abilities, an ever-meaningful control of rubato and an emotional directness that goes straight to the heart of both the music and the listener, every account that Friedman has left on disc is a treasure in its own right.<\/p>\n<p>A nerve problem in his left hand forced his retirement in 1943; he died in 1948 in Australia, where he happened to be touring at the outbreak of World War II.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>It doesn\u2019t need to be that fast. There is always time.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Advice to a pupil: Ignaz Friedman<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Ignaz\" friedman=\"\" plays=\"\" chopin=\"\" ballade=\"\" no.=\"\" in=\"\" f=\"\" minor=\"\" op.=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/rfHbGwWs4jo?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nIgnaz Friedman plays Hummel, Chopin and Beethoven<br\/>\nAPR 5508<\/p>\n<p><strong><a href=\"\/\/www.amazon.com\/Great-Pianists-Friedman-Beethoven-Mendelssohn\/dp\/B00000IX8J&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Buy from Amazon<\/a><\/strong><\/p>\n<ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/six-best-orchestral-players&quot;\">Six of the best orchestral players<\/a><\/li>\n<\/ul><h3>11. Krystian Zimerman (b. 1956), Polish<\/h3>\n<p>Few artists appear so relaxed and at one with the keyboard as Krystian Zimerman. In even the most note-splattered pages of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>, he retains absolute technical composure and clarity. Although his hands are not unusually large, he is blessed with long fingers and a relatively\u00a0 generous span, which helps facilitate his seemingly effortless fluency.<\/p>\n<p>Purity in all things is Zimerman\u2019s watchword. His playing fuses the aristocratic elegance of the \u2018golden age\u2019 with contemporary fastidiousness. In his hands fusty interpretative accretions built up over generations are peeled away to reveal pristine musical surfaces. Structures torn asunder by subjective whimsy regain their organic composure. Even the Liszt Sonata, a work notoriously prone to technical and interpretative fracturing, thrillingly unfolds with a bracing sense of inevitability.<\/p>\n<p>Classic filmed recordings of the <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> and\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a>\u00a0concertos (with <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/leonard-bernstein&quot;\">Bernstein<\/a>) and<br\/>\na peerless solo recital of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, reveal a piano technique in perfect symbiosis \u2013 the fingers miraculously even, the shape of the hands poised at all times, and a sleight-of-hand ability to make the transcendental appear facile.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Music is not sound. Music is using sound to organise emotions in time.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Krystian Zimerman<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Krystian\" zimerman=\"\" chopin=\"\" schubert=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/MgmHetWIfPc?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/>\nChopin: Ballades Nos 1\u20134 etc; Schubert: Impromptus Nos 1-4<br\/>\nDG 073 4449 (DVD)<\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Krystian-Zimmerman-Schubert-Ballades-Impromptus\/dp\/B0018S6YG2?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/20-greatest-conductors-all-time&quot;\">The 20 Greatest Conductors of all time<\/a><\/li>\n<\/ul><h3>10. Arturo Benedetti Michelangeli (1920-95), Italian<\/h3>\n<p>The playing of Arturo Benedetti Michelangeli featured an unforgettable sonority that was an amalgamation of impeccably controlled, awe-inspiring pianistic mastery, a textural sheen that was practically iridescent, and a warmly resilient tone that could seem to defy the acoustical laws of decay built into the sound of the piano.<\/p>\n<p>(An indication of his approach and preoccupations can be gauged from his refusal to make a studio recording of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/maurice-ravel&quot;\">Ravel<\/a>\u2019s suite Gaspard de la nuit on the grounds that the piano had not yet been invented that could do this work justice.)<\/p>\n<p>There was a paradoxical quality to his extraordinary artistry as well. His musical sensibility was often punctilious but just as often concerned with presenting the technical surface of the music in the very best light, which led to solutions that drew criticism for being musically mannered.<\/p>\n<p>Often he embodied a strength of commitment that could result in sovereign grandeur and overwhelming energy, yet elsewhere his playing seemed excessively tangible, marmoreal, and spiky rather than evocative.<\/p>\n<p>Michelangeli\u2019s repertory was restricted, honed carefully over many years \u2013 certain <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a> concertos and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> sonatas, and works by <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a> (Concerto, Carnaval, Faschingsschwank aus Wien), <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a> (Variations on a theme of Paganini, Ballades Op.\u00a010),\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/maurice-ravel&quot;\">Ravel<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/claude-debussy&quot;\">Debussy<\/a> (eventually both books of Preludes and Images), <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/edvard-grieg&quot;\">Grieg<\/a> (Concerto), and notably\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u00a0(Sonata No.\u00a02, F minor Fantasy, G minor Ballade, selected mazurkas and waltzes) turned up repeatedly on his concert programmes.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>To play means labour. It means to feel a great ache in the arms and in the shoulders.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Arturo Benedetti Michelangeli<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Arturo\" benedetti=\"\" michelangeli=\"\" plays=\"\" chopin=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/ykOlUhQhfkw?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Grieg: Piano Concerto (with New Philharmonia\/Fr\u00fchbeck de Burgos)<\/strong><br\/><strong>BBC Legends BBCL 4043-2<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Grieg-Piano-Concerto-Debussy-Pr%C3%A9ludes\/dp\/B00004WJMG?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><h2>9. Martha Argerich (b. 1941), Argentinian<\/h2>\n<p>Volatile, explosive, quixotic, astounding and mesmerising \u2013 these are some of the adjectives commonly used by critics to describe the music-making of Argentinian pianist Martha Argerich. Undoubtedly one of the most charismatic interpreters of our time, Argerich achieved international recognition at an early age after moving to Europe and winning first prize at the Busoni and Geneva <strong><a href=\"\/\/www.classical-music.com\/features\/articles\/who-invented-the-piano\/&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;noopener noopener noreferrer\" noreferrer=\"\">piano<\/a><\/strong> competitions in the late 1950s.<\/p>\n<ul><li><strong><a class=\"&quot;standard-card-new__article-title&quot;\" href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/the-best-recordings-of-pianist-martha-argerich\/&quot;\">The best recordings of pianist Martha Argerich<\/a><\/strong><\/li>\n<\/ul><p>A pupil of the provocatively subversive Austrian Friedrich Gulda, whom she still regards as the greatest pianistic influence on her life, she subsequently overwhelmed both jury and audience with her spectacular playing at the 1965\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u00a0competition in Warsaw. After undertaking a punishing schedule of recitals during this period, Argerich rejected the notion of pursuing a career as a solo pianist.<\/p>\n<p>According to her former partner, the American pianist Stephen Kovacevich, she simply loathed the idea of being alone on stage and from that time onwards she has focused her attention on playing concertos and chamber music. Her repertory is astonishingly versatile, extending from <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a> to <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/dmitri-shostakovich&quot;\">Shostakovich<\/a> and demonstrating\u00a0 a particular commitment to <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a>.<\/p>\n<p>Long-standing partnerships with violinist Gidon Kremer and cellist Mischa Maisky have broadened her musical outlook, Maisky describing performing with her as \u2018still the most beautiful experience in the world\u2019.<\/p>\n<p>Notoriously reclusive and reluctant to pander to the conventional publicity hype often attached to contemporary classical musicians, she has been astonishingly generous in nurturing young talent through her annual series of concerts at the Lugano Festival.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>I love very much to play the piano, but I don\u2019t like to be a pianist. I don\u2019t like the profession.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Martha Argerich<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Martha\" argerich=\"\" plays=\"\" prokofiev=\"\" piano=\"\" concerto=\"\" no.3=\"\" singapore=\"\" international=\"\" festival=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/BS0SwRoYAW0?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Rachmaninov: Piano Concerto No. 3 (with Berlin Radio Symphony Orchestra\/Riccardo Chailly); Tchaikovsky: Piano Concerto No. 1 (with Bavarian Radio SO\/Kirill Kondrashin)<\/strong><br\/><strong>Philips 446 6732<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Rachmaninov-Piano-Concerto-No-3-Tchaikovsky\/dp\/B0000041DF?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<li><strong><a href=\"\/\/www.arkivmusic.com\/classical\/album.jsp?album_id=1528&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Buy from ArkivMusic<\/a><\/strong><\/li>\n<li><strong><a href=\"\/\/music.apple.com\/us\/album\/rachmaninoff-piano-concerto-no-3-tchaikovsky-piano\/1440738751&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Stream on Apple Music<\/a><\/strong><\/li>\n<\/ul><h3>8. Emil Gilels (1916-1985), Russian<\/h3>\n<p>Contemporary with Sviatoslav Richter (see No. 4), whom he preceded in the West, and whose superiority to himself he insisted on, Gilels was a very different kind of pianist, though they shared much of the same repertoire. They also shared the same great teacher, Heinrich Neuhaus, and there are recognisable similarities of style. Gilels was not a temperamental performer, though his performances have energy and life.<\/p>\n<p>His <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> would be definitive if that term meant anything in relation to such music. But so would his <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/domenico-scarlatti&quot;\">Scarlatti<\/a>, his <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/pyotr-ilyich-tchaikovsky&quot;\">Tchaikovsky<\/a> and certainly his recordings of 20th-century Russian music. More reliable than Richter in turning up for concerts, he gave a huge number, both in the East and West, and his rigorous schedule killed him.<\/p>\n<p>His recordings above all show his wonderful fullness of tone, his command of long paragraphs, and often an astonishing delicacy. His <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a> concertos with Eugen Jochum are a recording for the ages, his <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/edvard-grieg&quot;\">Grieg<\/a> Lyric Pieces a revelation.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>The imagination comes in when the spirit comes together with the fantasy. Of course, the technique must be there, but the imagination must go with it.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Emil Gilels<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Emil\" gilels=\"\" live=\"\" in=\"\" moscow=\"\" beethoven=\"\" prokofiev=\"\" rachmaninov=\"\" scriabin=\"\" bach=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/GOnOut1F9ng?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Grieg: Lyric Pieces<\/strong><br\/><strong>DG 449 7212<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Grieg-Lyric-Pieces-DG-Originals\/dp\/B000001GX2?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/20-greatest-violinists-all-time&quot;\">The 20 Greatest Violinists of all time<\/a><\/li>\n<\/ul><h3>7. Artur Schnabel (1882-1951), Austrian<\/h3>\n<p>In his heyday, Austrian-born Artur Schnabel was revered as the leading exponent of the <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> piano sonatas; he was the first to record them all and his interpretations set the benchmark. Sixty years after his death he is still revered by fellow pianists and connoisseurs of the piano.<\/p>\n<p>A virtuoso in the mould of Horowitz (No. 3) he certainly was not \u2013 if you are looking for pianistic fireworks and breathtaking accuracy, Schnabel is not your man. His teacher, Theodor Leschetizky, remarked to the 12-year-old Artur: \u2018You will never be a pianist, for you are a musician.\u2019<\/p>\n<p>His playing may be described as honest and unvarnished and, occasionally, careless, as some recordings have more than their fair share of smudged, wrong or missed notes \u2013 like those of his great contemporary, Edwin Fischer, who joked that he collected them. Composer <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/arnold-schoenberg&quot;\">Arnold Schoenberg<\/a> once commented, \u2018\u2026\u00a0his concerts were communions. And when the audience dispersed, it was with a feeling of having been cleansed.\u2019 Listening\u00a0to any Schubert played by Schnabel, it\u2019s easy to understand what Schoenberg meant.<\/p>\n<p>His repertoire was limited to those composers with whom he felt most empathy, namely\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a> and, like Otto Klemperer\u2019s finest performances of the\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>\u00a0symphonies, there is in Schnabel\u2019s interpretations not only granite strength but also a simplicity which puts music first and ego last. Taking the stone analogy further, Schnabel\u2019s playing reminds one of the Renaissance artist Michelangelo\u2019s unfinished Piet\u00e0 where the marks of the chisel are very much evidence of work in progress.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Music is one of the performing arts with which, in exercise, one can be alone, entirely alone.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Artur Schnabel<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Artur\" schnabel=\"\" plays=\"\" beethoven=\"\" piano=\"\" concerto=\"\" in=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/omJtVvjgoPU?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Schubert: Impromptus D899 &amp; 935<\/strong><br\/><strong>EMI 586 8332<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.com\/Schubert-Impromptus-D899-Artur-Schnabel\/dp\/B013UC0F36&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><p>\u00a0<\/p>\n<h3>6. Dinu Lipatti (1917-50), Romanian<\/h3>\n<p>Lipatti\u2019s soundworld, articulated by an infinitesimal range of dynamics, colours and textures, would alone have guaranteed him a place among the piano immortals. The exquisite, fine-graded subtleties of his\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>\u00a0B\u00a0flat Partita, for example, are so numerous that one can only sit slack-jawed at the speed and detail of his superhuman reflexes.<\/p>\n<p>Yet what really sets his playing apart is that every inflection appears to arise naturally from the inner soul of the music. It is this tantalising fusion of supreme technical sophistication and disarming naturalness which lies at the heart of his captivating artistry. For Lipatti, music was something to be lived through and breathed like creative oxygen.<\/p>\n<p>One felt the same intuitive sense of contact with every composer he chose to play, whether it was the world-weariness that lies behind <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>\u2019s most frivolous gestures, or the emotional complexity of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u2018s\u00a0waltzes.<\/p>\n<p>In 1947, at the very height of his career, Lipatti was diagnosed with Hodgkin\u2019s disease and died three years later at 33. \u2018Lipatti had the qualities of a saint,\u2019 wrote his record producer Walter Legge. \u2018His goodness and generosity evoked faith, hope and charity in all those around him.\u2019<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Music has to live under our fingers, under our eyes, in our heart and mind with all we can offer them.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Dinu Lipatti<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Dinu\" lipatti=\"\" plays=\"\" mozart=\"\" sonata=\"\" in=\"\" a=\"\" minor=\"\" k310=\"\" at=\"\" his=\"\" last=\"\" recital=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/_2UvDOGo3qI?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>JS Bach: Partita No. 1<\/strong><br\/><strong>EMI 567 0032<\/strong><\/p>\n<p><strong><a href=\"\/\/www.amazon.co.uk\/Bach-Partita-Mozart-Scarlatti-Sonatas\/dp\/B003VSOZ8G\/ref=sr_1_1?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/p>\n<ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/best-recordings-beethovens-moonlight-sonata&quot;\">The best recordings of Beethoven\u2019s Moonlight Sonata<\/a><\/li>\n<\/ul><h3>5. Alfred Cortot (1877-1962), Swiss\/French<\/h3>\n<p>If you want your piano-playing to be merely note-perfect, then practise all day. But to make music a matter of life and death, to feel from the inside the drama, passion and eloquence with which notes and poetry unite into an art form, try spending your formative years as repetiteur at Bayreuth, and conduct the Paris premiere of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/richard-wagner&quot;\">Wagner<\/a>\u2019s G\u00f6tterd\u00e4mmerung. Not that that job, which he held from 1898 to 1901, nor that opera, given in 1902, wholly explain the genius of Alfred Cortot. Nobody has played like him since; probably no one did before, either.<\/p>\n<p>But Cortot\u2019s reputation has been sullied by two unfortunate issues. First, his tally of wrong notes is uncomfortably high for those reared in our phonographically disinfected age. Secondly, during World War II he held a position as High Commissioner of the Fine Arts in the Vichy government.<\/p>\n<p>He may not have been the \u2018best\u2019 pianist by today\u2019s examined standards, but he was still one of the most profound, sensitive and genuine musicians of his time and beyond. His musical concepts were on a transcendent scale that few have matched. Besides, Cortot was more than just a great pianist: he was a lynchpin of his cultural world.<\/p>\n<p>Born in Switzerland in 1877, he studied at the Paris Conservatoire with Louis Di\u00e9mer and Emile Descombes, who had known <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>. <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/gabriel-faur%C3%A9&quot;\">Faur\u00e9<\/a>, director of the Conservatoire, appointed him a professor there in 1907; Cortot subsequently taught such artists as Clara Haskil, Dinu Lipatti, Vlado Perlemuter and Samson Fran\u00e7ois.<\/p>\n<p>From 1905 he formed a renowned trio with violinist Jacques Thibaud and cellist Pablo Casals. And besides writing a number of books and essays on matters musical and pianistic, he made editions of piano music by\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u00a0and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a> that are still revered.<\/p>\n<p>Aside from the wrong notes, his technique was prodigious, especially in the vital quality of fine, beautiful tone production. When you listen to him, whether in\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u00a0or <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> or\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/gabriel-faur%C3%A9&quot;\">Faur\u00e9<\/a>, you hear not just a piece of music, but a private opera of the soul.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>The interpreter\u2019s art \u2013 at least for the man who does not intend to restrict it to the barren successes of instrumental virtuosity \u2013 has as its essential aim the transmission of the feelings or impressions which a musical idea reflects.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Alfred Cortot<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Alfred\" cortot=\"\" rare=\"\" videos=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/qDBDBpQH5Hw?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Schumann: Piano Concerto (with LPO\/Landon Ronald)<\/strong><br\/><strong>Chopin: Piano Concerto No. 2 (with LPO\/John Barbirolli)<\/strong><br\/><strong>Naxos 8.110612<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Schumann-Chopin-Concertos-Alfred-Cortot\/dp\/B00004VXD0?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/best-recordings-gershwins-rhapsody-blue&quot;\">The best recordings of Gershwin\u2019s\u00a0Rhapsody in Blue \u00a0<\/a><\/li>\n<\/ul><h3>4. Sviatoslav Richter (1915-97), Russian<\/h3>\n<p>Regarded by many as the greatest pianist of the second half of the 20th century, Richter\u2019s ancestry was German, but he only performed in the West for the first time in 1960. He already had a prodigious reputation, thanks to LPs, and the expectations of him were phenomenal. A highly sensitive artist, he loathed the limelight (literally \u2013 in his later years he performed on a darkened stage), and much preferred playing in a barn in France \u2013 his favourite venue, once the geese were evacuated \u2013 to any large concert hall.<\/p>\n<p>His favourite composer was <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/richard-wagner&quot;\">Wagner<\/a>, who wrote no significant piano music. Richter\u2019s repertoire was perhaps the most enormous of any pianist, though he hated \u2018completism\u2019 and never performed, for instance, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>\u2019s Second, Fourth or Fifth Piano Concertos, or some of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u2018s\u00a0Preludes, while giving astounding performances of the rest.<\/p>\n<p>He was a friend of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-prokofiev&quot;\">Prokofiev<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/dmitri-shostakovich&quot;\">Shostakovich<\/a>, both of whom wrote works for him, and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/benjamin-britten&quot;\">Britten<\/a>, with whom he played duets. He tells us that for one period of his concert career he was inseparable from a pink plastic lobster which he would leave in the wings where he could see it when he went onstage.<\/p>\n<p>It is hard to characterise his playing, since he immersed himself so deeply in the music that it sometimes seems we\u2019re hearing the composer directly. That\u2019s the case with <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/george-frideric-handel&quot;\">Handel<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a> and the Russian composers; he is more idiosyncratic in <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a>.<\/p>\n<p>After the early 1970s he refused to record in the studio, but many of his concerts were recorded, and there are more CDs of him than of any other pianist; he loathed most of his own performances, and at the end of the great documentary (on DVD) Richter: The Enigma, made in 1995, he says \u2018I don\u2019t like myself. That\u2019s it.\u2019<\/p>\n<div class=\"&quot;monetizer__price-comparison-container&quot;\" data-position=\"&quot;adhoc&quot;\" hidden=\"\"> <h5 class=\"&quot;monetizer__price-comparison-title\" monetizer-title=\"\" style=\"&quot;background-color:\" color:=\"\"\/> <div id=\"&quot;monetizer__deals&quot;\" data-type=\"&quot;price-comparison&quot;\" data-config=\"'{&quot;shopId&quot;:&quot;1378&quot;,&quot;market&quot;:&quot;gbp_en&quot;,&quot;template&quot;:&quot;default&quot;,&quot;searchKeywords&quot;:&quot;Richter:\" the=\"\" enigma=\"\"\/> <div class=\"&quot;monetizer__price-comparison-explanatory-text\" body-copy-extra-small=\"\" editor-content=\"\"\/><\/div> <div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>I don\u2019t like pianos \u2013 I like music more.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Sviatoslav Richter<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Chopin\" op.10=\"\" no.4=\"\" sviatoslav=\"\" richter=\"\" width=\"&quot;200&quot;\" height=\"&quot;150&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/Z0bbrroCuvU?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Rachmaninov: Piano Concerto No. 2 (with the Warsaw Philharmonic Orchestra\/Stanislav Wislocki)<\/strong><br\/><strong>DG 477 8584<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Rachmaninov-Piano-Concerto-Minor-Moderato\/dp\/B001N5GXX4?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/which-your-favourite-piece-franz-liszt&quot;\">The best works by Liszt<\/a><\/li>\n<\/ul><h3>3. Vladimir Horowitz (1903-89), Russian<\/h3>\n<p>When Horowitz emerged from Kiev to begin his international career in the 1920s he struck many as a direct link to the 19th-century Russian school exemplified by Anton Rubinstein, known for his free approach to rhythm, dynamics, and phrasing.<\/p>\n<p>For the next three decades, until his 12-year retirement from live concerts (1953-65), Horowitz practically defined pianistic virtuosity, but not in the wild-haired, swooning manner of a Paderewski; this lion of the keyboard was lithe, modern in dress, and quiet in his demeanour.<\/p>\n<p>His thundering octaves in <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/pyotr-ilyich-tchaikovsky&quot;\">Tchaikovsky<\/a>\u2019s First and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u2019s Third concertos, or the Liszt B minor Sonata won him huge fortunes and the attention of the musical world, but gradually Horowitz tired of \u2018the octaves race\u2019, and began searching for repertoire that would provide him and his audiences with more intellectual stimulation.<\/p>\n<p>For his much-anticipated return to the stage at Carnegie Hall in 1965, he opened with\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>\u00a0(albeit arranged by Busoni) and\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a>\u2019s C major Fantasy, saving <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a> for the second half. <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/domenico-scarlatti&quot;\">Scarlatti<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/joseph-haydn&quot;\">Haydn<\/a>,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>\u00a0and Clementi were now constants on his programmes, as well as <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/alexander-scriabin&quot;\">Scriabin<\/a> and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>. Not surprisingly, Horowitz\u2019s rhapsodic approach to\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>\u00a0and\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/joseph-haydn&quot;\">Haydn<\/a>\u00a0was closer in spirit to the historically informed performances of today than to the rigid scorebound approaches of his contemporaries.<\/p>\n<p>The most recognisable aspect of Horowitz\u2019s tone was its range of colour and its physicality. Even his softest playing had body, while his loudest was always crystal clear. In every phrase, a wealth of dynamic and rhythmic shadings was framed in a constantly changing yet logical pulse, a pure bel canto approach reminiscent of the great Italian baritone Mattia Battistini, whom Horowitz idolised.<\/p>\n<p>Never content to rest on his laurels, Horowitz, like his father-in-law Toscanini, always searched for more truthful interpretations \u2013 try listening to his many recordings of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>\u2018s\u00a0B minor Scherzo, each one differently paced, and with inner voices differently balanced. Horowitz was dubbed \u2018the Last Romantic\u2019, but in many ways he was the supreme classicist, with head and heart in equipoise.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>Perfection itself is imperfection.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Vladimir Horowitz<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Klavierabend\" vladimir=\"\" horowitz.=\"\" goldener=\"\" saal=\"\" wiener=\"\" musikverein=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/8ELwCdgGQLQ?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>The Indispensable: Chopin, Rachmaninov, Liszt, Scriabin and Scarlatti<\/strong><br\/><strong>RCA 74321634712<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.co.uk\/Indispensable-Vladimir-Horowitz-Fryderyk-Franciszek\/dp\/B000026CV2?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;https:\/\/www.classical-music.com\/features\/articles\/greatest-virtuosos-all-time\/&quot;\">The greatest virtuosos of all time<\/a><\/li>\n<\/ul><h3>2. Artur Rubinstein (1887-1982), Polish<\/h3>\n<p>If there was an award for the pianist who came closest to the artistic ideal in the widest repertoire, it would almost certainly go to Rubinstein. Whether playing Faur\u00e9 or Brahms, Alb\u00e9niz or <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/maurice-ravel&quot;\">Ravel<\/a> or <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, the results were sublime. Yet he is most celebrated for his\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, whose aristocratic poise and elegance found a perfect match in Rubinstein\u2019s own interpretative genius.<\/p>\n<p>His golden tone, exquisite sense of timing and sensitivity to phrase and structure were tailor-made for the nocturnes, waltzes and mazurkas. Yet remarkably he sustained that same level of musical intuitiveness and profound eloquence throughout the more heated virtuosity of the concertos, scherzos, ballades, preludes, sonatas and polonaises.<\/p>\n<p>There was seemingly nothing that Rubinstein could not play at the highest levels of distinction, from concertos and solo recitals to forming two \u2018million dollar\u2019 piano trios, first with Jascha Heifetz and Emanuel Feuermann and then with Henryk Szeryng and Pierre Fournier, with whom he made outstanding recordings of Brahms, Schubert and Schumann.<\/p>\n<p>Most of us now associate Rubinstein with the accumulated wisdom and autumnal glow of his stereo era recordings (from the late 1950s), yet when he first emerged on the scene at the turn of the 20th century, it was as a prodigy of electrifying virtuosity and \u00e9lan.<\/p>\n<p>Incredibly, as witness sublime video recordings of concertos by Grieg, Saint-Sa\u00ebns,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>\u00a0and <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/johannes-brahms&quot;\">Brahms<\/a>, he was still playing like an angel in his eighties. Rubinstein was one of the most widely recorded of pianists, although his love affair with the gramophone got off to a shaky start when he refused to record for the early acoustic process as he felt it made the piano \u2018sound like a banjo\u2019.<\/p>\n<p>If modern trends have moved towards finding absolute solutions to technical and interpretative challenges, Rubinstein was a spontaneous musician to his fingertips. \u2018On stage I will take a chance. There has to be an element of daring in great music-making,\u2019 he once insisted, and this extended to his relaxed approach to practising (in the early 1930s he even took some time out in order to refine his technique).<\/p>\n<p>Having a photographic memory proved a special boon, particularly when he came to give his first performance of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/c%C3%A9sar-franck&quot;\">Franck<\/a>\u2019s tricky Symphonic Variations, which he learned on the train journey to the venue, working out the fingerings on his knee-caps!<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>We must transmit what these great compositions express. It is our gift to be able to transmit to an innocent and ignorant public.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Artur Rubinstein<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <iframe title=\"&quot;Arthur\" rubinstein=\"\" chopin=\"\" piano=\"\" concerto=\"\" no=\"\" in=\"\" f=\"\" minor=\"\" op=\"\" width=\"&quot;200&quot;\" height=\"&quot;113&quot;\" src=\"&quot;https:\/\/www.youtube.com\/embed\/B3r4EgwLqMM?feature=oembed&quot;\" frameborder=\"&quot;0&quot;\" allow=\"&quot;accelerometer;\" autoplay=\"\" clipboard-write=\"\" encrypted-media=\"\" gyroscope=\"\" picture-in-picture=\"\" allowfullscreen=\"\"\/>\n<p><strong>Essential recording:<\/strong><br\/><strong>Chopin: 21 Nocturnes<\/strong><br\/><strong>RCA 09026 630492<\/strong><\/p>\n<ul><li><strong><a href=\"\/\/www.amazon.com\/Artur-Rubinstein-Chopin-Collection-Nocturnes\/dp\/B000003ENY&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Buy from Amazon<\/a><\/strong><\/li>\n<\/ul><ul><li><a href=\"&quot;http:\/\/www.classical-music.com\/article\/five-essential-works-js-bach&quot;\">Five essential works by JS Bach<\/a><\/li>\n<\/ul><h3>1. <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Sergey Rachmaninov<\/a> (1873-1943), Russian<\/h3>\n<p>What would we know of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u2019s playing if his recordings did not exist? Much could be deduced from the music he wrote. There is the vast range of virtuoso technical resource, with implied power and stamina to match. The melancholic lyrical gift would be self-evident. So would the incisive rhythmic instinct \u2013 and, to judge from the later works at least, the tight-reined clarity with which\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0the pianist would unerringly shape one musical paragraph after another.<\/p>\n<p>The recordings confirm all this. And they also tell us both more and less. Without them it would be impossible to know quite how phenomenal\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u2018s\u00a0rhythmic gift was \u2013 at once ultra-precise and springily propulsive, not unlike Prokofiev\u2019s, but unleashing a momentum that\u2019s less motor-driven, more like a tidal surge. This was surely the quality that enabled everything else to be so special \u2013 the way that a phrase spontaneously tugs against, or yields to the underlying pulse, so that every musical option seems possible.<\/p>\n<p>The tonal quality, too, is spellbinding. The opening bars of the G flat major Prelude (which you will hear on the set below) are among the simplest\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0wrote, yet you know at once you\u2019re in the presence of something extraordinary.<\/p>\n<p>How many other pianists could phrase the right-hand\u2019s repeated chord-pattern with that kind of suppleness, or bring such fullness and focus to the left-hand melody? In an interview in 1936,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0said: \u2018Interpretation demands something of the creative instinct. If you are a composer, you have an affinity with other composers\u2026 knowing something of their problems and their ideals. You can give their works colour\u2026 So you make music live. Without colour it is dead.\u2019<\/p>\n<p>What the recordings can\u2019t tell us is how the younger\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0played. Before he left revolutionary Russia in 1918, he seems mainly to have performed his own piano music, alongside much composing and conducting. Afterwards, life in Europe and America meant a full-time piano career, and with it the need to build a repertory. <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/js-bach&quot;\">Bach<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a> (notably the Appassionata), <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/alexander-borodin&quot;\">Borodin<\/a>,\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/frederic-chopin&quot;\">Chopin<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/claude-debussy&quot;\">Debussy<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/edvard-grieg&quot;\">Grieg<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/felix-mendelssohn&quot;\">Mendelssohn<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/mozart&quot;\">Mozart<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-schubert&quot;\">Schubert<\/a>, <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/robert-schumann&quot;\">Schumann<\/a> (Carnaval was another favourite) and Tchaikovsky all came to feature in\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0programmes besides his own works. He would practise for up to 15 hours a day and toured extensively.<\/p>\n<p>All of this seems to have been his way of dealing with the personal tragedy of his uprooting from Russia. So, evidently, was the famous public reserve, reflected in his contained, expressionless manner at the keyboard. <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/igor-stravinsky&quot;\">Stravinsky<\/a>, who once referred to his compatriot and fellow-exile as \u2018a six-and-a-half-foot-tall scowl\u2019, also remarked less waspishly: \u2018His silence looms as a noble contrast to the self-approbations which are the only conversation of all performing and most other musicians. And, he was the only pianist I have ever seen who did not grimace. That is a great deal.\u2019<\/p>\n<p>But had it always been like that? We shouldn\u2019t forget the unmistakable roguish streak that emerges in the\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/felix-mendelssohn&quot;\">Mendelssohn<\/a>\u00a0and Musorgsky transcriptions. And did\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u00a0play rather more expansively in his earlier days, as a work like the Second Piano Concerto suggests? Meanwhile the recorded legacy presents its own evidence. After hearing one of <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/franz-liszt&quot;\">Liszt<\/a>\u2018s\u00a0more devastating performances (of\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven&quot;\">Beethoven<\/a>\u2018s\u00a0\u2018Emperor\u2019 Concerto), <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/richard-wagner&quot;\">Wagner<\/a> remarked that pianism of this order \u2018annihilates everything else\u2019.\u00a0<a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a>\u2018s\u00a0playing has the capacity to leave you\u00a0with the same impression.<\/p>\n<div class=\"&quot;row&quot;\"> <div class=\"&quot;col-10\" offset-1=\"\"> <div class=\"&quot;embed&quot;\"> <div class=\"&quot;template-article__pullquote\" mt-md=\"\" mb-md=\"\"> <blockquote class=\"&quot;pullquote\" heading-4=\"\"> <span class=\"&quot;pullquote__icon\" pullquote__icon--left=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/>I have never been quite able to make up my mind as to which was my true calling \u2013 that of a composer, pianist, or conductor. These doubts assail me to this day.<span class=\"&quot;pullquote__icon\" pullquote__icon--right=\"\" icon-pullquote=\"\" data-grunticon-embed=\"\"\/> <footer class=\"&quot;pullquote__author\" body-copy-small=\"\">Sergey Rachmaninov<\/footer><\/blockquote> <\/div> <\/div> <\/div>\n<\/div> <p><strong>Essential recording:<\/strong><br\/><strong>Sergey Rachmaninov: His Complete Recordings<\/strong><br\/><strong>RCA 82876678922<\/strong><\/p>\n<ul><li><a href=\"\/\/www.amazon.co.uk\/Rachmaninov-Complete-Recordings-Sergey\/dp\/B000003FB7?tag=classicalm05c-21&amp;ascsubtag=classicalmusic-0&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;sponsored&quot; noopener noreferrer\"><strong>Buy from Amazon<\/strong><\/a><\/li>\n<li><strong><a href=\"\/\/www.sheetmusicplus.com\/title\/sergei-rachmaninoff-complete-sheet-music\/20120271&quot;\" target=\"&quot;_blank&quot;\" rel=\"&quot;nofollow noopener noreferrer\" noopener=\"\" noreferrer=\"\">Buy from Sheet Music Plus<\/a><\/strong><\/li>\n<\/ul><p><strong>We named <a href=\"&quot;http:\/\/www.classical-music.com\/topic\/sergey-rachmaninov&quot;\">Rachmaninov<\/a> one of the greatest and most <a href=\"&quot;https:\/\/www.classical-music.com\/composers\/50-greatest-composers-all-time\/&quot;\">famous composers of all time<\/a><\/strong><\/p>\n<section class=\"&quot;highlight\"><div class=\"&quot;highlight__content\" editor-content=\"\"> \n<ul><li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/20-greatest-sopranos-all-time\/&quot;\">The 20 Greatest Sopranos of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/artists\/20-greatest-tenors-all-time\/&quot;\">The 20 Greatest Tenors of all Time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/recordings\/50-greatest-recordings-all-time\/&quot;\">The 50 greatest recordings of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/greatest-piano-concertos-all-time\/&quot;\">The greatest piano concertos of all time<\/a><\/strong><\/li>\n<li><strong><a href=\"&quot;https:\/\/www.classical-music.com\/features\/works\/20-greatest-operas-all-time\/&quot;\">The 20 Greatest Operas of all time<\/a><\/strong><\/li>\n<\/ul><p> <\/p><\/div> <\/section><\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Freya Parr Published: Tuesday, 07 June 2022 at 12:00 am Great pianists have an aura about them like no other musician. Working their magic on the 88 keys in front of them in repertoire ranging from brilliantly crafted Bach and mercurial Mozart to the flamboyant fireworks of Liszt and Rachmaninov, they inspire admiration and [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":16450,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"27"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time.jpg",625,350,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time-300x168.jpg",300,168,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time.jpg",625,350,false],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time.jpg",625,350,false],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time.jpg",625,350,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/06\/the-20-greatest-pianists-of-all-time.jpg",625,350,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Freya Parr Published: Tuesday, 07 June 2022 at 12:00 am Great pianists have an aura about them like no other musician. Working their magic on the 88 keys in front of them in repertoire ranging from brilliantly crafted Bach and mercurial Mozart to the flamboyant fireworks of Liszt and Rachmaninov, they inspire admiration and&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/16449"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/16450"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=16449"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=16449"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}