Yes I completely agree. When I met the winner of the 2017 Van Cliburn, he said that the only reason he entered was because he really needed the money. And he got it, I guess. I do like his playing, but there were pianists I enjoyed more that got eliminated in the earlier rounds (Tony Yike Yang with an astounding Liszt B minor Sonata and Alyosha Jurinic, whose Debussy was on par with Moravec's, in my opinion). Likewise, several of the pianists who made it to the finals did not impress on me at all.
Yes, I think Bartok would be saddened as well, as well as most of the other great pianists of the last century, who prioritized beauty and expression over perfect technique and accuracy, which, too me, should be merely a means to an end rather than the goal.
Perhaps pianism as we know is dying. But hopefully there will be a change, a new innovation that has yet to be discovered--perhaps some composers will compose new repertoire that asks for improvisation as being part of the performance--which would be difficult to accept at first, because so few pianists are trained to improvise. I don't like saying it, but a turn like that would bring limit the excess number of pianists (who are all vying for a career) to those who can compose and improvise as well as play. Perhaps in that way the standard should be much higher.