摘要：Let us imagine for the moment that in 2203 a performer/musicologist were invited to deliver thekeynote address at a conference treating a leading figure in the keyboard culture of the periodfrom the 1960s to the 1990s. Whose name would be an appropriate counterpart to that of Mozartin the late eighteenth century.I suspect that the prime candidates would be pianists, not composers¡ªfrom Serkin,Richter, Michelangeli, Brendel and Argerich to Pollini, Lupo, Perahia, Schiff, Uchida, etc. Withsome necessary prodding, though not to this audience, the names of Bilson and his illustriousdisciples, Lubin, Lubimov, van Immerseel, Staier, etc. would emerge, as well as separatecategories for harpsichordists and organists
