My theory is that at least 50% of current pianists can trace a lineage back to Liszt or Chopin. 
if Italian, probably Thalberg.
In my case my teacher < Nat < Diemer < Marmontel < P. Zimmerman < Alkan
1) The title of this post is supposed to infer a performance-related subject. It does not, and it should be posted on the "Teaching Forum." That is if the so-called Moderator is doing their job!
2) Accordingly, my video "Your Piano Teacher Taught You Wrong" speaks in "Part II" to the subject of piano teacher lineage, for which I have been widely ridiculed.
3) Further, the lineage which the "Visitor" brags about does not include the name of Theodor Leschitizky, who lineage was Schnabel, Rosen, Fleisher, et al.
4) Most importantly, this lineage establishes, (in terms of both "Linear and Circular Causality), how the Piano was Originally (Not Historic Performance) was played.
5) Further, I list the following detailed response to the comment by Charles Blanchard that I posted in regards the specifics of this lineage and its associated pedagogy/methodology:
["The purpose of this video is to bring the knowledge of original performance practice to the general public, that is: how the composer pianists who wrote this great music actually played their own music. It is not a commentary on style, but is instead a revelation of existing research as to how the music was originally played.
Today, this music is played in a strict Urtext fashion "Strict Attention To the Score" which is a total bastardization of the concept of Philosophical Modernity promoted in the early 20th century. Modernism/Modernity was never meant to apply to pre-existing works.
Accordingly, it would be considered insanity to enter any art museum and announce that everything needed a new coat of paint. However, that is exactly what the music schools of this planet have done with the piano music of 18th, 19th, and early 20th centuries.
Every Fine Art matriculate in the world is required to study the early masters of their particular art form in order to fully understand how to effectuate it today. With the exception of the UK, no university music school requires their students to be knowledgeable of the original historic performance practice of their particular instrument or genre.
Once again, I recommend that one peruse the book "Off The Record" by Dr. Neal Peres Da Costa, a student of Dr. Clive Brown who is considered to be the leading applied musicologist in the world regarding Classical and Romantic Period interpretation. Also, there is the new doctoral thesis published in May of 2015 by Dr. Miaoyin Qu, "Piano Playing in the German Tradition 1840-1900. Rediscovering the Un-notated Convention of Performance." She is also a student of Dr. Brown.
Like Dr. Peres Da Costa she extensively discusses the original performance practices of the breaking of the hands, arpeggiation, improvisation, and tempo modification. Finally, it needs to be said that there is a significant difference between performance practice and style.
Clara Schumann, and her students Fanny Davies, Adelina de Lara, Ilona Eibenschutz , and Carl Friedberg, all played in different styles. However, they all played with the same performance practices listed above. Conversely, Arrau, Backhaus, Gieseking, and the pianists of today, all played/play in different styles,. Yet, in terms of performance practice, they all render the same note-perfect, robotic meticulous attention to the score that never existed when the music was originally composed."]
Topic: the studio lineage performance thread