All of his students do it iirc, I followed some Korean chick student of his and she also had a super low bench.
I used a low bench for a year or so but eventually I abandoned it for a higher position (can’t remember the exact reasons).
I played on a low bench as well for a long time, it had its benefits but tbh sitting higher feels less risky from a technical standpoint. Mostly psychological I guess, but seeing the keyboard from higher gives you more command over the music in stressful situations.
Gould also sat quite low, but that was probably for idiosyncratic rather than technical reasons. Though, I imagine his unique sound was somehow aided by his position at the keyboard.
I listened to this performance (on the audio version Chris posted), I really liked the pedal effects on the first couple of pages but afterwards it was a bit too hazy for my taste on the low dynamic end.
I think pianopera’s criticism was spot on; his fondness for achieving colour with pedal effects is a strength and weakness.
However, what I admire is that he has something different to say and says it very convincingly, even if it is a completely different conception of the piece from my own.
Another thing I’d like to point out is how well he maintains the line throughout; despite often playing very slowly he never stagnates, and one always feels the sense of direction (nobody does this better than Richter imo).
Contrast this with how Lisista played the other night, where some of the pieces just seemed interminable.
I had never heard of Schenck before but his playing really has quality, even if it’s a bit questionable repertoire such as the Chopin/Godowskys.
I like his posture at the piano, too. A bit “cold” in how he handles the music, but great control and overview.
At 7:05, for some reason he felt the urge to check how late it is, probably he thought, “bloody hell, already so late??” during the playing.
Another pianist totally obsessed by sound in this repertoire, but rather amateurish compared to Schenk, is my former teacher, Geoffrey Douglas MAD. He thinks he’s a modern Busoni, but in reality (as I discovered only later) he had a very limited technique.
Yes, as far as well-known Australian pianists are concerned we have Madge, Howard, Helfgott(!!) and Lane. 
Plus Percy Grainger, Noel Mewton-Wood, Geoffrey Tozer! Of the living ones, I particularly like Roger Woodward
Yes, I like him too although he doesn’t seem to be very well known (?)
When I was first becoming obsessed with piano I would listen to this Woodward CD of Chopin pieces nonstop.
Until my sister rolled over it in a chair.
Haven’t been able to find that CD again, would be great to hear it after all these years.
Well… put this on a 78-rpm and you have a great pianist. 
He has a nice radio program on the Concertzender.
(I like his recording of Busoni’s Concert Waltz, he manages to not sound stiff in that piece)
wow this is difficult to watch
also, you’re dutch?
Agreed. Yeah, I studied five (long) years with GDM at the RC in The Hague when I was totally naive. The most valuable thing I learned from him was his introduction to recordings of great pianists from the past: Hofmann, Friedman, Moiseiwitsch. But then, I might have discovered them myself later on…
Madge had the reputation of playing unplayable pieces such as Opus Clav and lots of modern stuff. But you have to hear him just ONCE in more standard repertoire - such as the Liszt Don Juan or the Goldbergs - to realize that the man is a bit of a charlatan. How the hell did he get that teaching job… 
Though he did some good works for “forgotten composers”.
Hmm there might be a random Australian connection there, because my teacher Geoffrey Lancaster taught there too (not sure how long, think he studied there too).
Back in 2010 I felt Avdeeva deserved to win the CC!
Unlike Bozhanov or Trifonov she totally focused on the music although in a traditional way, while Bozhanov had an attitude like he already won the competition or doesn’t even need such awards; too much in love with himself and his genius.
Nonetheless I like his unconventional way to open new sights on compositions.
Tru, da Bozh has an annoying smugness to him.