Gulda is another! A free spirit. Also, lesser known, but prolific on disk, the  extraordinary Andrew Rangell.

I would add Mikhail Pletnev (in his pianist role).  His unique interpretations almost always work.

I saw Pogorelic multiple times. His first concerts (after he didn't win the Chopin competition in Warsaw)  were astonishing. Casually dressed, walking excruciatingly slow towards the piano,  he was absolutely captivating in how he played the pieces. Later his interpretations became more an " just for the sake of doing it differently " sort of thing.

Maria Yudina is on my personal list. Her relationship with Stalin and USSR censorship certainly adds a layer. I also put Horowitz in this category, though maybe he's not quite perverse enough.

I had the privilege of twice hearing Pogorelich live during the mid-80s.  To my ears he sounded very eccentric, occasionally out-of-his-mind, but mostly irresistible. His sound was mesmerizing but wasn’t captured in the recordings. For me Pogorelich live in the 80s was a vastly different experience than his recordings from the same period—unquestionably his peak.

This was a fun episode, Dave. I appreciate so much your ability to consider music and performances from a variety of perspectives.

Ugorski passed sway a while ago. Unfortunately so did his daughter Dina, who was a marvelous artist.

Celi conducts one of my favorite versions of Ravel’s Daphnis and Chloe Suite
No. 2, and I love Pogo’s Pictures At An Exhibition.

I'd add Svetlanov, but particularly in his little-known piano recordings of certain Chopin Nocturnes and Etudes.  I think I recall Dave referring to some of his orchestral performances as examples of sweating, panting, over-the-top emotionalism.  Well, the same might be said of his keyboard Chopin.  Slower tempi, breath-taking rubato, brazen separation of hands, bold underlinings, wide dynamic range--the whole echt-romantic expressive arsenal deployed throughout.  But here's the thing:  it can all  nevertheless be damn gorgeous and completely convincing.  Once you've heard the way he etches the aching melodic line of the Op 25 #7 "Cello" Etude you can't forget it, and you almost feel like through his excesses he's broken through to the real sentiment behind the notes.  The same goes for his Nocturne Op 48 #1, where the last section's "doppio movimento" marking he takes to mean not twice the speed but more like half, which results in an amazingly built-up grandeur that's positively thrilling to hear.  Probably perverse, but I somehow wouldn't be without it.  Just as I wouldn't be without a handful of Turek's Bach, Pogorelich's Chopin, or Cziffra's Liszt recordings.

Gergiov conducting with a toothpick comes to mind

Ahhhh, Celibidache...how many times I've found his performances, on YouTube and elsewhere...and there he is, turning in a 65 minute recording of some work no other conductor has ever taken more than 50 minutes to play....

You made me laugh, Dave! My picks are Tomita,electronic Debussy? And PDQ Bach (funny perverse.)

Herman Scherchen needs a biography. As a kid I bought a lot of his recordings because they were cheap and easy to get - on the Westminster label. I imprinted on that Mahler 7th he made and I'm sure it corrupted my mind as to what Mahler should sound like. I still rank his Gliere 3rd at the top of the pile despite the mono sound and scrappy playing. It's too bad he never had a first-class orchestra of his own.

When I discovered Bach in my teens, I sought a recommendation for a recording of the B Minor Mass and was told "probably one by Scherchen." The sound was murky, and much of the solo singing was horrendous. (Boy, has Bach singing improved since then! We are sooo fortunate!) Hearing it anew recently, I didn't actually find much to object to in Scherchen's conducting, except perhaps the glacially paced first Kyrie. But I certainly won't return to it.

Gitlis was unique and needed very skilled conductors to work with him. He was very pleased to report that Heifetz enjoyed listening to his recordings.

I like much Miss Tureks livingroom registrations - and i enjoy Scherchens DG Box.

Emmanuelle Haim's uber-expansion of the orchestral size of a lot of earlier Baroque repertoire is hit-or-miss, but I find her Dido and Aeneas rather splendid. Doubling winds and a very extensive continuo team. It's written rather like a French opera, and sounds like one with this instrumentation! Ian Bostridge and Felicity Palmer are very welcome bonuses as well.

Ugorski ! Thanks for your intro! Started listening to his Messiaen and OMG he makes the birds truly alive!! Thanks for pointing the way!

Man, you nailed it with the whole thing! But especially with Gitlis! Bravo Dave!

This is a fascinating talk. I think there are artists who are extreme and eccentric but give us a new insight into familiar works. We are moving away from the greatest recording area. However I think we have all heard surprising and perhaps outrageous performances which have made us think again. Long may they continue to prosper………