I'd like to see Edward Kilenyi added. Few people realize that his career was cut short by WWII, and his recordings after that are not representative of his pre-war playing.
You have to deal with the old mono sound in the Pathé Recordings (1937-39), and he used to talk about how difficult it was to record then, one shot, worrying about fitting things in.
I had the chance to hear him play in public in Tallahassse, at FSU, but nothing I ever heard in public came close to his playing in repertoire class, where he was totally relaxed and sometimes playing so well, I wanted to quit. He had the most unusual way of playing I've ever seen, and anyone who has studied Dohnányi would have been fascinated to see Kilenyi play his music. I learned more about hand movement and relaxed playing from watching him than from everything I've ever read or been told. He was amazing.