Above all diz iz da mozt important element ov penizm to me, above touch and dynamicz, altho wizout dem alzo itz a bit pointlezz n unliznable
Which peniztz and perfz dizplay da moz mazterful rhythm?
IMO da 
zet da ztandard among golden age mofoz wiz hiz ROCK ZOLID zenze ov rhythm n tazteful rubato
The real standout I think is Richter, but also Sokolov, Hofmann, Pogo 1.0.
Contemporary pianists harzhly donāt come across very favourably in this aspect. 
livin penizt wikid pulze : da whale n debargue 
True thatās an important distinction to make, which is a note to self really since I always speak of them interchangeably
I always enjoyed da governahz zenze of rhythm
Tru thatās a good example at once of a pianist with a good sense of rhythm, but a poor sense of pulse
hung rappahz, legendary.
Perhaps this explains it well:
āMeter is how time (tempo) is divided. Rhythm is about subdivision of meter with individual note values. Pulse is essentially the same as meter, and is more colloquial than theoretical. A metronome ticking or kick drum playing all quarter notes at 120 BPM could be āpulseā.ā
So a pianist can have a good sense of rhythm in a Bach piece - with correct timing of note values - but can have a poor sense of pulse when (s)he ends much faster than (s)he started.
The way I think of it intuitively is simply
good sense of pulse/meter = ability to strictly adhere to a given tempo, through all kinds of emotional transitions in the music, but not necessarily accenting the rhythm of the music while doing so
good sense of rhythm = resonates strongly with the rhythmical aspect of music, and makes you feel it
You keep saying that, and I keep not understanding why. Do you have any examples?
Off the top of my head, try his Franck PCF. Despite that Franck has explicitly marked the pulse in the score, nooooooope.
Da Zhrapnel 
I donāt seem to have it in my archives, anything else?
I think itās on Spotify etc. Itās all over otherwise - just listen and tap the beat with your hand. Where Iāve particularly thought about it with him is in passages with a clear pulse which also have a melody on top.
For the record though, Iām not one of those who revolt over rubato or playing with feeling. Itās a matter of where and how you apply it. de la Salle for instance who was recently mentioned has a lot of both dynamic and tempo fluctuations in her playing in general passages, and I loved the concert I attended with her. Itās a tool, and itās also one thing to zig zag along a track and another to act as if itās not there at all. If I complain about it with a pianist itās probably as often how judiciously they use time in their playing as their actual ability (though with some pianists you begin to wonder).
I also think itās perfectly possible to overuse it incidentally. One reason Sokolovās Scriabin felt so grounded and earth bound for instance was, I think, since he never could sufficiently let go of the meter of the music.
Do u mofoz think practicin wiz a metronome iz ov value fo dizciplined pulze?
YES
Iād even to go as far as to say that any pianist where you get a clear sense of pulse (as opposed to rhythm), has practised with a metronome. Itās really not uncommon, at least not among Russian trained musicians. Even the grand romantic Liszt did, and several commentators of his day particularly singled out his ability to keep strict time and play in a musically correct manner.
Agreed with da X.
It certainly can help if you haff a tendency to rush or slow down at certain places where you actually want a steady pulse. But what helps even better is carefully listening back to yo own playin after recording it, and correct things.
Thereās a danger that itāll sound all too metric and too strict, too āplannedā if you overuse the metronome though. A certain natural flexibility in phrasing is often also very much needed, or the performance sounds ādeadā.
I barely use the metronome at all, I think it is the enemy of true expressivity. I should probably use it more though, my playing has an element of metrical instability.
Yes indeed, I didnāt mean to say I think pianists use it all the time when they practise. My general impression is that itās something which is never far from the piano in their study, and that they bring it out from time to time make sure they donāt drag here etc. As with the musical application, a tool.
Da grove musta stopped doing dat then, I remember he did it in dat imaging being a penizt vid.
Liztening to da PF now, maybe it lacks pulse or no, either way I donāt notice it without looking for it, so it doesnāt bother me.
I remember noticing it in a Rach rec tho, sum chopin noct or sumtn, unbearable