Hall of Fame--Keyboard players

I am utterly appalled and shocked at the omission of Rudolf Serkin from the initial list of keyboard artists in the Hall of Fame, and can only hope that this was an inadvertent omission. While indeed a controversial artist, when at his best, performing the composers he was most identified with (e.g. Mozart, Beethoven, Schubert, Brahms), the experience was overwhelming; one frequently left his recitals with the feeling of having undergone a religious-like experience, not dissimilar to the effect that Schnabel (earlier) and Brendel (later) provided. The utter dedication to revealing the essence of the composer's message with overwhelming intensity and drama carried all before it (Beethoven PC5, Brahms PC1 were unbelievable in his hands). True, when not at his best, when nerves perhaps got the better of him, his tone could turn hard and clangy, but the far more numerous times when he totally rose to the occasion rank as unequalled musical experiences in my long lifetime.

Mr. Serkin's late-career recordings of the complete Beethoven concertos (with Ozawa) and most of Mozart's (with Abbado) were unfortunately made when he was well past his prime, but one should rather form one's impressions from his recordings of the 1950s, 60s, and early 70s for a fairer, far more representative picture of his achievements; of special import are the 3 live Royal Festival Hall recital recordings from the late 60s and early-mid 70s, which received excellent notices in Gramophone's pages. Finally, one must not forget the enormous influence in the promulgation of chamber music Serkin's directorship of the Marlboro Festival in Vermont provided for over 4 decades.

So, Gramophone, please think again re Serkin's inclusion on your Hall of Fame list.