Many observers have remarked that Serkin was not a natural pianist. Indeed, he seemed rather to play by force of will alone, and the strength of his musicianship lies more in the deep insight that he brought to the music of the composers he holds dearest -- traditional Austrian and German masters -- than in virtuosic pianism. In the sonatas of Beethoven, Serkin finds particular inspiration. His Beethoven interpretations do not necessarily please the listener in terms of superficial "beauty," but rather convey the unique mixture of logic, violence, and spiritual transcendence that he feels is the essence of Beethoven's work. In the Brahms concerti, Serkin's vision is nothing short of titanic. On off-nights, however, Serkin's lofty, cerebral brand of pianism sometimes failed him, and the austere, "square" approach to phrasing that makes his playing so immediately recognizable sometimes sounded unnecessarily harsh.
Rudolf Serkin's discography is impressive, spanning most of the general repertory from Bach to the early/mid-twentieth century, and including such relative novelties as the F minor Concerto of Max Reger, a composer Serkin had an abiding affinity for. His work at the Curtis Institute, and, during the summers, at the Marlboro Festival, has made him one of the most influential American teachers of the post-World War II era. Serkin's son Peter is also a pianist of considerable renown., Rovi