Do we place too much emphasis on being a "classical" pianist today?

[winsto7]

Hey all!

I just had an interesting thought, do you guys think we place too much emphasis on being "classical" pianists today? A lot of people on this site put so much effort into learning the classics (don't get me wrong, they're are plenty of great ones), but I would argue that the majority of classical pieces are emotionless and dead. There are so many great composers/ arrangers out there today and it just seems more relatable and sometimes more emotion-filled. Why are so many pianists today convinced that classical is the only "right" way to be a pianist. Thoughts?

[brogers70]

I'm not remotely convinced that playing classical is the only way to be a pianist. I like classical music because it seems more relatable to me and absolutely not emotionless and dead. Different strokes for different folks.

[winsto7]

it seems more relatable to me and absolutely not emotionless and dead. Different strokes for different folks.

I see what you're saying, but what are your thoughts on Bach?

[brogers70]

I see what you're saying, but what are your thoughts on Bach?

I think Bach is an ideal combination of intellectual construction and emotional affect. My favorite composer.

[bwl_13]

Calling a majority of any music "emotionless" or "dead" seems hyperbolic. Yes the classical route is often promoted, but it's also frowned upon by many young musicians and audiences. I play classical music because I find that it challenges me on many musical levels. I love jazz and contemporary styles of music (I listen to them more than classical), but I find myself most drawn to playing Chopin, Beethoven, Bach etc.

Yes there is a stuffy attitude sometimes in classical music circles and academia, but I think it's going away as time continues to pass. The ideals of music and goals of it have also shifted as time has gone on, it's interesting to study. Idk those are my thoughts though

[anacrusis]

Hey all!

I just had an interesting thought, do you guys think we place too much emphasis on being "classical" pianists today? A lot of people on this site put so much effort into learning the classics (don't get me wrong, they're are plenty of great ones), but I would argue that the majority of classical pieces are emotionless and dead. There are so many great composers/ arrangers out there today and it just seems more relatable and sometimes more emotion-filled. Why are so many pianists today convinced that classical is the only "right" way to be a pianist. Thoughts?

I don't think there is a "right" way to be a pianist. People will have opinions about everything, so there is no way to please everyone, so just do you.

But do you really think people would put a lot of effort into learning classical music if they thought it emotionless and dead? I play exclusively classical pieces but it's because I deeply love all those pieces more than any other music that's available for me to play. They feel full of emotion and life to me. The old composers felt the same emotions as we do today and they put it all into their music. Now if we like the stylistic framework they hung the expression of their emotions upon or not, is completely subjective and it's totally fine to not like it. But it's also equally valid to like it. And that's what a lot of people who choose to play classical music do.

Of course some are forced to even if they don't like it, and I think that's wrong. We shouldn't waste our lives doing things we don't enjoy doing if we have the privilege to choose.

[ranjit]

You should realize that you are looking at a VERY biased sample of people here. I think that around half the people here have music degrees.

[winsto7]

You should realize that you are looking at a VERY biased sample of people here. I think that around half the people here have music degrees.

I'm aware, lol. I'm getting a piano performance degree and I think I'm really causing the professors strife by "redefining" their degrees lol. We've had some heated convos.

[nightwindsonata]

I'm aware, lol. I'm getting a piano performance degree and I think I'm really causing the professors strife by "redefining" their degrees lol. We've had some heated convos.

you should consider that classical and jazz is the foundation of most modern music. Even if your heart doesn't lay in the performance of sonatas or concertos, you should at least be familiar with their construction and logic so that you can then go on to create your own work and have the technique and knowledge to do whatever you set your hand to.

[lelle]

Who are "we"? I think the people interested in classical focus on classical, and those who aren't, don't

[wankimx3]

Hey all!

I just had an interesting thought, do you guys think we place too much emphasis on being "classical" pianists today? A lot of people on this site put so much effort into learning the classics (don't get me wrong, they're are plenty of great ones), but I would argue that the majority of classical pieces are emotionless and dead. There are so many great composers/ arrangers out there today and it just seems more relatable and sometimes more emotion-filled. Why are so many pianists today convinced that classical is the only "right" way to be a pianist. Thoughts?

Hmm yeah I agree too. Coz u know a lot of great pianists out there such as Lang Lang don't really play contemporary music, but they play classical, especially the well known ones. Those who play contemporary are often non-pianists who are eager to play their favorite songs on piano.

My opinion about Classical music is that they may be a little too long in length and I may not have the patience to listen to everything 😂 I like classical music that are short in length, catchy to the ear and makes me replay it over and over in my head. But I actually like contemporary music more than classical. It is much more relatable and emotional to me and I really loved movie soundtracks by Hans Zimmer, who composed Pirates of the Caribbean soundtracks and much much more, like other pop songs~

I don't really research a lot about classical music coz it's quite dead and u know if classical composers still live in recent times I might be more interested to getting to know them and their compositions better.

[jamienc]

This is really an interesting question, and I’ve pondered it for a few days before replying. I think the basic answer to the question is that it depends upon the goals of the student and the open-mindedness of the instructor. I’ve been teaching piano at the college level for over 20 years, and you can imagine that I have seen all sorts of student walk through the door. Before we even begin, I question them about the type of music they listen to and any significant event in their lives that led them to the piano in the first place. This is often very telling! I also ask them what “dream piece” they envision playing in the future once there is sufficient ability to do so. It definitely gives me an idea of how to proceed…

One thing I consistently find in common among all of the new students I teach is that they all struggle with technical limitations that are exacerbated by insufficient knowledge of the operational language of music, regardless of the style of music to which they gravitate. The trick is to find repertoire or examples of music within the preferred style that will help the student achieve technical and musical success, enlighten them to deeper theoretical concepts that make music work, and thus lead them on a pathway to advanced physical and mental refinement. This is where the open-mindedness of the instructor comes in. To explain this I will provide a little anecdote: My mother was a huge fan of Elton John, and I always remember as a child listening to some of those great songs from the 1970s and being fascinated by the way he played the piano and how beautifully his voice fused with the instrument. Upon voicing my interest, my mother bought one of the Elton John song books that existed at the time, and when I opened to some of the songs I particularly liked, I was astounded at how technically and musically challenging the songs actually were! Now, I was only 10 years old (I started playing when I was four), but I realized at that point that there was a lot more to do before I would be able to play some of the things that sounded so easy on the record. When I brought it to my teacher, she agreed with my assessment!

The point I’m trying to make here with this story is that regardless of the style of music a student may be drawn to, there are fundamental musical and technical skills that apply to all of those styles that students must master before they are able to proceed to more challenging examples within that repertoire. I think we all know this. Considering the sheer amount of repertoire from, let’s say, Bach through Bartok, it makes complete sense to me that instructors will draw from the ample resources in that genre to teach those fundamentals in an organized way which could then be applied to the other genres like jazz, pop, and contemporary.

I suspect, however, that once students are exposed to more of the repertoire in the classical realm, they become attracted to many of the pieces that have stood the test of time. They may discover the greatness of Beethoven in one of the Sonatas, or the undeniable attraction of Chopin in one of the Nocturnes, and so on. So I don’t necessarily think that young people are being “steered“ into classical music, but rather, they discover it on their own in an attempt to achieve better technical and musical control of the instrument over time.

[bwl_13]

I suspect, however, that once students are exposed to more of the repertoire in the classical realm, they become attracted to many of the pieces that have stood the test of time. They may discover the greatness of Beethoven in one of the Sonatas, or the undeniable attraction of Chopin in one of the Nocturnes, and so on. So I don’t necessarily think that young people are being “steered“ into classical music, but rather, they discover it on their own in an attempt to achieve better technical and musical control of the instrument over time.

This is exactly what happened to me. I found a video that showed different levels of playing using classical pieces as examples. Since I'd never known the names of these pieces I started looking into it. Eventually I discovered Beethoven sonatas, Chopin nocturnes and ballades, Bach WTC and I was hooked.

I was initially taught at a "rock school" locally and never played any classical. I listened and continue to listen to contemporary genres like hiphop, rnb, pop, hyperpop (might get some grimaces at that one), jazz, the list goes on.

Classical music got my attention almost entirely as music I want to play. I never found as much interest in playing other genres. Jazz does have loads to explore so I dabble in it for fun, but I've found classical to be very fulfilling as my primary repertoire.

As time has passed I've looked into other ensembles and classical music away from piano, but my gateway was simply an interest in music to add to my library.

Perhaps there's more to be said about how some music becomes culturally engrained, such as Eine Klein, Beethoven 5 or the Ode to Joy, Chopin 9/2, since I recognized these pieces simply from growing up in Canada and hearing them in passing. I can't say for certain whether they'd be as alluring to me without those cultural connotations, but the less famous (for a passive listener) pieces grabbed me more. No late Beethoven sonata has any portions as famous as the Adagio Cantabile from Op. 13, but they are some of my favourite pieces.

Anyway this was a bit of a rant but I appreciate your insights. I'm sure my taste will continue to grow with time and maybe I'll get a better understanding why I play the music I do.

[perfect_pitch]

My opinion about Classical music is that they may be a little too long in length

Okay - definitely your opinion... totally wrong however. If you've got 30 mins at night to spare before bed and want to watch some TV, you don't play a movie that's 2 hours in length and complain about it being too long.

There are a LARGE plethora of classical pieces that are less than 5 mins in length, and large orchestra works that can take up to an hour. They fit all time frames. Like most movies, they make them as long as they have to be in order for the composer to feel they are complete.

It is much more relatable and emotional to me and I really loved movie soundtracks by Hans Zimmer, who composed Pirates of the Caribbean soundtracks and much much more, like other pop songs

You do realise that most of the works of Hans Zimmer, Klaus Badelt, John Powell, John Williams are written almost in a classical type style. They are usually orchestrated in the same manner most of the large symphonic works written 200 years ago. Most of these people probably have classical music backgrounds, and their playing is almost just a natural extension of how music would have evolved after the romantic and early 20th century (had it not gotten weird and delved into that weird sh*t). You know what I'm talking about...

[cough *sorabji* cough]

I don't really research a lot about classical music coz it's quite dead

Again - you're opinion, totally wrong. I still have Primary school kids who want to play Fur Elise, Moonlight Sonata; students who learn Eine Kleine Nachtmusik as Quartets, and lots of students love playing the music of Elgar in their Band classes.

It ain't dead... just ignored by a lot of people who can't understand the intricacy, the beauty and the incredible depth Classical music has.

[thorn]

I think what the OP was getting at is engrained pedagogy. It reminds me of traditional Oriental painting schools where students learned to paint by making exact replicas of works in the canon and by the time they became professional painters they couldn't paint anything else. Then they took on students of their own and the cycle continued. I'm not knocking this by the way- these schools lasted centuries, enjoyed high profile patronages, and produced wonderful works so they were doing something right. But I am saying music education can be the same thing, and of course students who feel they want to 'paint something else' are going to feel frustrated.

I think jamienc covered how to solve this. Ultimately our main contact with piano is through our teacher. If the teacher is an autocratic snob* then the student will interpret that as "classical music" is elitist* and holding them back from playing "contemporary pieces".

*Terms like snob/elitist are thrown around a lot in this type of discussion. I specifically mean people who degrade music written after 1900 that isn't in a pre-1900 style, and worse refuse point blank to teach such music.

[lostinidlewonder]

As a music educator you are supposed to encourage students to love music and find works that excite them and that certainly doesn't only exist around "classical" music. The world of music has moved on quite a lot and so we should embrace that diversity.

For example a fully rounded teacher should be able to teach Chopin and Liszt as well as be aware of the music from Undertale! I personally think there is zero excuse in forcing everyone down the same "classical" path, that simply suffocates creativity. So many universities of music are barren landscapes of creative deserts which churn out clone after clone.

I am excited to study works with students that they are excited about. As a teacher we are servants, I think some teachers forget about that. I have got to say I enjoy the diverse musical interests that are out there!

[jamienc]

As a music educator you are supposed to encourage students to love music and find works that excite them and that certainly doesn't only exist around "classical" music. The world of music has moved on quite a lot and so we should embrace that diversity.

For example a fully rounded teacher should be able to teach Chopin and Liszt as well as be aware of the music from Undertale! I personally think there is zero excuse in forcing everyone down the same "classical" path, that simply suffocates creativity. So many universities of music are barren landscapes of creative deserts which churn out clone after clone.

I am excited to study works with students that they are excited about. As a teacher we are servants, I think some teachers forget about that. I have got to say I enjoy the diverse musical interests that are out there!

+ 10 on this post. I couldn’t agree more. I have told my students that the perfect musician is one who can walk that very fine line 50/50 of learning on your own with equal balance of “street smarts“ and proper training. If I were to have one regret at the end of my life about my musical existence, I would have to say that I wish I had more encouragement in my youth to explore on my own without all of the “rules“ that govern much of music education these days. I think proper training does steal a lot of the creativity that students inherently have, especially if they are musically inclined. That creativity can be quite squashed by many of the rules that govern music when they are forced upon a student in an attempt to make them better at the instrument. Deviation from that very fine line can create someone who is very good at learning by ear, but might miss a lot of the theoretical concepts that would make them a better performer. On the other side of that coin, you can over train someone to be so aware of the processes and theoretical concepts that they can’t break away from those pre-existing examples to effortlessly create things on their own.

For example, in the past five weeks I have learned the Appassionata, and if I needed to I could play it tomorrow with only a month experience with the piece. However, when I rehearse with my jazz ensemble at the school, I really have to work diligently to create a good “improvisation“ for a 12 bar blues. This is something I wish I could do much more fluently, similar to the manner with which I was able to learn the Appassionata. We all certainly have our strengths, but I just wish I was more versatile in some of the other musical abilities that some students out there are able to accomplish so much more easily than I can. The grass is always greener, isn’t it?

[timtim]

No there is not. However, we all lost something. Now we are producing pianists massively (look at competitions, everyone plays good at the big picture scheme - I mean is capable educated extremely good technically piainsts, who in 99% of cases understand very good what classical music is about).

But what we lost is being a musican or pianist - which means just coming to piano and have ability to play something without sheet music or looking in memory. I am not expecting Chopin melody development here, but most of classical musicians cannot improvise even a tiny thing!

But - are you aware that vast majority of pop musicians are conservatory trained? All sessions musicians and so on. It may not be related to electric guitar and percussion. But you need to start learning music at some time. You do not need do finish conservatory, and actually a lot of those people are doing this by themselves by reading music books, articles, talking and listening.

Do you know that when Miles Davis was in Julliard he was spending his time in library studying scores of Bach, Stravinsky and Prokofiev, and probably many others too? Herbie Hancok was classicaly trained few first few years, and afterwards he spend time rewriting all jazz standard piano licks from radio or home recordings, and he spend years discussing with his music colleagues jazz theory and it's practical usage.

Alicia Keys has musical university degree and was studying classical piano till age of 18.

You can also go to the other extreme of the well known Beatles (we don't know the notes and you dont have to), but very few know that actually they only writte chords and melody, but all of the arrangement and actual recording have been made by actually trained musicians.

Music is music. Indeed there are some good composers today and there are a lot of boring pieces from the past. Attractive music is more compliated that 1-6-4-5 or other basic chord progression.  Take for example music of Queen. Yes I know different time but Freddie piano solos are complicated. I just found this on Quora, and actually knowing well Queen music it makes a lot of sense:
Brian May and Freddie Mercury both did classical piano and finished grade 4 on the piano, both of them also abandoned their formal lessons at age nine. Brian May quit the formal lessons because he was far more interested in the guitar rather then the piano. Freddie Mercury quit his formal lessons because he didn’t enjoy reading music, and he could basically replicate anything he heard. Freddie’s piano playing was certainly more advanced then grade 4. He definitely had his own style, he played the piano sometimes a bit more like a percussion instrument, with a lot of classical elements.

There are a lot of talented people there, I love piano but I have to spend long hours of everyhing. By talent I mean brain ability to fast memorize melodies, ear ability to recognize intervals and at the and ability to play everything on the keys.

Or take Ktahia Buniatishvili. I think she is one of the very few actual musicians on the classicial market (not just note players, if you get the difference). Trifonov, Wang as well. But they are rare examples.

[anacrusis]

+ 10 on this post. I couldn’t agree more. I have told my students that the perfect musician is one who can walk that very fine line 50/50 of learning on your own with equal balance of “street smarts“ and proper training. If I were to have one regret at the end of my life about my musical existence, I would have to say that I wish I had more encouragement in my youth to explore on my own without all of the “rules“ that govern much of music education these days. I think proper training does steal a lot of the creativity that students inherently have, especially if they are musically inclined. That creativity can be quite squashed by many of the rules that govern music when they are forced upon a student in an attempt to make them better at the instrument. Deviation from that very fine line can create someone who is very good at learning by ear, but might miss a lot of the theoretical concepts that would make them a better performer. On the other side of that coin, you can over train someone to be so aware of the processes and theoretical concepts that they can’t break away from those pre-existing examples to effortlessly create things on their own.

For example, in the past five weeks I have learned the Appassionata, and if I needed to I could play it tomorrow with only a month experience with the piece. However, when I rehearse with my jazz ensemble at the school, I really have to work diligently to create a good “improvisation“ for a 12 bar blues. This is something I wish I could do much more fluently, similar to the manner with which I was able to learn the Appassionata. We all certainly have our strengths, but I just wish I was more versatile in some of the other musical abilities that some students out there are able to accomplish so much more easily than I can. The grass is always greener, isn’t it?

It is always greener, and in education, there is always a tradeoff between breadth and depth. I can't fault classical educations too much for not teaching you how to work in a jazz ensemble, because a classical education is supposed to help you become an expert at classical music, and there is just so much to learn that you already just scratch the surface in some instances in your typical modern classical musician's education.

[lostinidlewonder]

It is always greener, and in education, there is always a tradeoff between breadth and depth....there is just so much to learn that you already just scratch the surface in some instances in your typical modern classical musician's education.

There is in fact no need for the piano journey, the music journey, to mean that one needs to play the most technically demanding pieces they can possibly play and to push those boundaries constantly. There is plenty of music that one can find a niche within and be perfectly happy and joyful musicians who are able to share their music with others just as well as someone rattling off a top level piece. I would agrue that some connect better musically with laymen than those who play highly advanced works and that is certainly something to think about!!


Who Should Devote Himself to the Piano?
DELICATE question, indeed ! I fear me, an echo from the World will reply, short and sharp : " No one ! " But this were wrong, if only in consideration of the opulent, glorious literature of the piano, which deserves that an unbroken line of interpreters should arise—interpreters with a mission, of course. And here we have the reply to our question : Those with a mission for it should devote themselves to the piano.
But what qualities justify this claim? Were I to say : " Only a talent of the highest order," one might just as well assert that only millionaires have a right to live. In music, too, there must be a middle class.
Theodor Leschetizky

[lostinidlewonder]

I think proper training does steal a lot of the creativity that students inherently have, especially if they are musically inclined. That creativity can be quite squashed by many of the rules that govern music when they are forced upon a student in an attempt to make them better at the instrument. Deviation from that very fine line can create someone who is very good at learning by ear, but might miss a lot of the theoretical concepts that would make them a better performer. On the other side of that coin, you can over train someone to be so aware of the processes and theoretical concepts that they can’t break away from those pre-existing examples to effortlessly create things on their own.

I think that there are different types of teacher and the most glaringly contrasting ones are those who encourage creative freedom and those who think that freedom is only gained once you have achieved the highest levels. It is as if only those who are at the highest class are worthy of self expression and all those other mere mortals who are below it should eventually quit and find something else to do. I like to listen to highly advanced pianists play something very simple with a lot of expression, often they don't do much better (and in cases not better at all!) than someone who has no ability to play high level pieces but plays those same easy pieces with great joy and passion because they love it so.

I think that a mix of learning music you adore and as well as learning works which benefit you is important for every single developing musician. I don't think it is 50/50 for everyone at all times, it certainly varies between the individuals depending on where they are in their musical journey.

[winsto7]

It ain't dead... just ignored by a lot of people who can't understand the intricacy, the beauty and the incredible depth Classical music has.

This is the most ignorant thing I've heard in a while. First off, I have a minor in Classical Music performance and I understand it just as well as about anyone on hear, and I ignore it still, when I can lol. Think again before generalizing.

[lousyplayer]

One of my piano teachers tried to convince me to play jazz, I hated it!

I always liked classical music and it is what I like to play despite the efforts of some people...

[lostinidlewonder]

There is more music than just classical and jazz 

[hmoll53]

I think emphasis perhaps isn't the right word for me. Obviously, all pianists, teachers, and students of classical music learn at least some "classics" in their lifetime, it's simply unavoidable. Though I think it is true that contemporary composers of our modern times deserve some more recognition, it really isn't too different from what it was then. At one point, Bach was considered contemporary, Beethoven was, Chopin was and so on. Now in the 21st century, these contemporary composers have become history, and they are remembered for their achievements, usually because of their genius, style and the effect they have on people. Now there are definitely times and places where the "classics" feel boring, perhaps from overlistening or overpracticing. Now usually, these composers become more and more famous after their death, as generations after begin comphrehending their genius, the same goes for almost all artists in different fields. Since they have become history and given the statement that a lot of these composers have become more and more famous after their time, it's only normal for us now to admire and perform these works and composers to such a common degree. The modern composers are simply waiting to be recognized more if they have the merit, talent and musicianship that deserved to be done so.

[lelle]

I think emphasis perhaps isn't the right word for me. Obviously, all pianists, teachers, and students of classical music learn at least some "classics" in their lifetime, it's simply unavoidable. Though I think it is true that contemporary composers of our modern times deserve some more recognition, it really isn't too different from what it was then. At one point, Bach was considered contemporary, Beethoven was, Chopin was and so on. Now in the 21st century, these contemporary composers have become history, and they are remembered for their achievements, usually because of their genius, style and the effect they have on people. Now there are definitely times and places where the "classics" feel boring, perhaps from overlistening or overpracticing. Now usually, these composers become more and more famous after their death, as generations after begin comphrehending their genius, the same goes for almost all artists in different fields. Since they have become history and given the statement that a lot of these composers have become more and more famous after their time, it's only normal for us now to admire and perform these works and composers to such a common degree. The modern composers are simply waiting to be recognized more if they have the merit, talent and musicianship that deserved to be done so.

Do you know any mdoern composers whose music you think deserves being immortalized just like Beethoven's , Chopin's, etc?

[hmoll53]

Do you know any mdoern composers whose music you think deserves being immortalized just like Beethoven's , Chopin's, etc?

This is my personal taste and opinion but some modern ones I like include Liebermann, Stephen Hough and Marc Andre Hamelin (Who I always think is the modern Godowsky in skills), Samy Mousa (I was at his Symphony 2 Premiere and I love it personally). There are a few more but these are some good ones imo.

[leigh anne]

I think classical pieces are good. I never thought of them as "emotionless and dead". However there are also some songs that are also really nice. You can play those in piano aside the classical music things. Today we live in the new generation and those classical stuff have been around a long time so why don't we start playing songs? I agree, some pianist's focus on playing classical only, and disregard those wonderful songs out there. (Except the new song starting from 90's and up til now, 2022 they are releasing techno crap) especially those in the 60's to 80's.

[wankimx3]

Okay - definitely your opinion... totally wrong however. If you've got 30 mins at night to spare before bed and want to watch some TV, you don't play a movie that's 2 hours in length and complain about it being too long.

There are a LARGE plethora of classical pieces that are less than 5 mins in length, and large orchestra works that can take up to an hour. They fit all time frames. Like most movies, they make them as long as they have to be in order for the composer to feel they are complete.

You do realise that most of the works of Hans Zimmer, Klaus Badelt, John Powell, John Williams are written almost in a classical type style. They are usually orchestrated in the same manner most of the large symphonic works written 200 years ago. Most of these people probably have classical music backgrounds, and their playing is almost just a natural extension of how music would have evolved after the romantic and early 20th century (had it not gotten weird and delved into that weird sh*t). You know what I'm talking about...

[cough *sorabji* cough]

Again - you're opinion, totally wrong. I still have Primary school kids who want to play Fur Elise, Moonlight Sonata; students who learn Eine Kleine Nachtmusik as Quartets, and lots of students love playing the music of Elgar in their Band classes.

It ain't dead... just ignored by a lot of people who can't understand the intricacy, the beauty and the incredible depth Classical music has.

Oops....sorry.  

[lousyplayer]

I see what you're saying, but what are your thoughts on Bach?

I love Bach. But you have to understand it. Fortunately I had a Russian teacher who taught me how to play it the right way!

[nightwindsonata]

This is my personal taste and opinion but some modern ones I like include Liebermann, Stephen Hough and Marc Andre Hamelin (Who I always think is the modern Godowsky in skills), Samy Mousa (I was at his Symphony 2 Premiere and I love it personally). There are a few more but these are some good ones imo.

I second the suggestion of Liebermann! I discovered his music recently ... I quite enjoy it. And of course Hamelin and Hough are incredible. There are many excellent composers out there just waiting to be discovered as well; only they aren't, because few people are willing to take a risk with their music  :'( I would also add John Adams to the list (though he's not much of a piano composer).

[cuberdrift]

I do believe it is true though in the end I love playing classical music because I want to hear them played in my own style which is the entire point.