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The piano has been one of the most popular and influential musical instruments in our history. Over the centuries there have been many famous pianists, some classical players, some contemporary and some modern. But all these musicians had something in common. They redefined the sound and style of the instrument in ways that changed music forever. The best classical pianists make even the most familiar music seem freshly composed, and their recordings have continued to inspire new generations of listeners for many decades.
We’ve selected our favorite pianists for this list and could easily have picked dozens more, but we’re sure there are enough life-changing recordings here to serve as a good beginner’s guide to the world of classical piano music. The list is in alphabetical order and we have recommended only recordings that are widely available today. But who are the greatest pianists to have practiced their craft in the era of sound recording (that is, since the early 20th century)? We asked the best pianists of today for their opinion – each one had three votes – and here is the list that came out…
Check the list of the best classical pianists
Leif Ove Andsnes
The Norwegian pianist rose to fame after his debut in Oslo in 1987 and his first recordings for Virgin Classics (now Erato). Andsnes is not only a committed supporter of his compatriot Edvard Grieg, but also an excellent interpreter of the seminal works of the Austro-German repertoire, witnessing his outstanding Beethoven Journey and Mozart Momentum series for Sony Classical.
lang lang
Chinese pianist Lang Lang, born in 1982, began taking piano lessons at the age of three and gave his first concert two years later. At the age of 13 he won the first prize at the International Tchaikovsky Piano Competition for young musicians in Japan, which attracted a lot of attention and was the beginning of a very successful career. A year later, in 1996, he performed as a soloist with the Chinese National Symphony Orchestra for then Chinese President Zemin.
Moving to the US in 1997, he studied with Gary Graffman, president of the Curtis Institute of Music in Philadelphia. In 1999 he rose to fame after substituting for Andre Watts at the Ravinia Festival in Illinois. He performed Tchaikovksy’s Piano Concerto No. 1 in B-flat minor with the Chicago Symphony Orchestra. He became the first Chinese pianist to perform with the Berlin Philharmonic Orchestra in 2004, and the demand for him at high-profile events grew along with this fame.
yuja wang
Beijing-born Chinese pianist Yuja Wang studied at the Curtis Institute in Philadelphia and has built a stratospheric international career on an often surprising and highly eclectic approach to piano virtuosity. Her breakthrough came when she temporarily replaced Martha Argerich in Boston at the age of 20.
His interpretation impresses with its brilliance, power, impact, lightness and precision; today she is celebrated for everything from Beethoven’s solo sonatas to chamber music (she has performed and recorded in excellent collaboration with clarinettist Andreas Ottensamer). In 2019 she was a soloist in the world premiere of a devilish new John Adams piano concerto titled Must The Devil Have All The Good Tunes?
sergei rachmaninoff
What would we know about Rachmaninoff’s performance if it weren’t for his recordings? Much could be derived from the music he wrote. There is a wide range of virtuous technical resources with a corresponding implicit power and resistance. The melancholic lyrical talent would be evident. Similarly, the succinct rhythmic instinct and, at least judging by later works, the unbridled clarity with which the pianist Rachmaninoff unerringly fashioned one musical paragraph after another.
The recordings confirm all this. And they also tell us more and less. Without them, it would be impossible to know how phenomenal Rachmaninov’s rhythmic talent was: ultra-precise and elastic at once, propulsive, not unlike Prokofiev’s, but with less motorized momentum, more like a tidal wave. That was surely the quality that made everything else so special: the way a phrase spontaneously pulls against, or gives way to, the underlying beat, so that all musical options seem possible.
Martha Argerich
A victory at the International Chopin Piano Competition in 1965 at the age of 24 put Argerich on the musical map. An exciting and energetic artist, Argerich has made numerous recordings throughout her career, although she has made few solo appearances since the mid-1980s, preferring to focus on concert and chamber music.
Franz Listz
Another well-known pianist was the Hungarian composer Franz Liszt. Liszt revolutionized recitals not only with his performance energy but also with his performance position, being the first to perform next to the audience so that his hands were visible.
Known for his piano superpowers that surprised and delighted audiences, his best-known compositions include Liebestraum No. 3, The Mephisto Waltz, Piano Sonata in B minor, and the notoriously difficult Annees De Pelerinage.
Arthur Rubinstein
If there were a prize for the pianist who came closest to the artistic ideal in the widest repertoire, it would almost certainly go to Rubinstein. Whether Fauré or Brahms, Albéniz or Beethoven, Ravel or Schubert, the results were excellent. But he is most celebrated for his Chopin, whose aristocratic poise and elegance found a perfect match in Rubinstein’s own interpretive genius. His golden hue, his exquisite sense of timing, and his sensitivity to phrase and structure were made for nocturnes, waltzes, and mazurkas.
Remarkably, however, he maintained the same level of musical insight and profound eloquence throughout the more heated virtuosity of the concertos, scherzi, ballads, preludes, sonatas, and polonaises. There was apparently nothing Rubinstein couldn’t play at the highest level, from solo concerts and recitals to founding two multi-million dollar piano trios, first with Jascha Heifetz and Emanuel Feuermann and later with Henryk Szeryng and Pierre Fournier, with whom he collaborated. on excellent recordings by Brahms, Schubert and Schumann.
Vladimir Ashkenazy
Ashkenazy shared first prize in the 1962 Tchaikovsky Competition with John Ogdon (see below) and has made a staggering number of CDs for Decca.
Vladimir Horowitz
There was only one Horowitz: a pianist with an almost heavenly range of expression, a virtuoso style, and a feverish visionary quality unseen before or since. Born in Kyiv, Horowitz left the USSR in 1925 to study with Artur Schnabel in Berlin, but never returned. His debut in the United States in 1928 propelled him directly to international fame.
Tormented by personal crises and alleged episodes of addiction to antidepressants and other substances, Horowitz went through ups and downs and underwent electroshock therapy for depression in the 1940s. Few who encountered him and his playing could come out unmoved, let alone unperturbed, by their superior art.
Alfredo Cortot
If you want your piano playing to be perfect, then practice all day. But to make music a matter of life and death, to feel from within the drama, passion and eloquence with which tones and poetry combine to form an art form, try spending your formative years as a répétiteur in Bayreuth. and direct the premiere in Paris. Wagner’s Götterdämmerung. Neither this job which he held from 1898 to 1901, nor this opera which he gave in 1902 fully explain Alfred Cortot’s genius. Since then, no one has played like him; probably no one has done this before.
But Cortot’s reputation was marred by two unfortunate problems. First, his number of wrong notes is uncomfortably high for those who grew up in our phonographically sanitized era. Second, he held the position of High Commissioner for Fine Arts in the Vichy government during World War II. He may not have been the “best” pianist by today’s standards, but he was nonetheless one of the most profound, sensitive and authentic musicians of his time and beyond.
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