Almost seven years ago, I was part of a packed Merrill Auditorium hanging on every note as Yuja Wang accompanied the PSO in a performance of Rachmaninov’s Piano Concerto No. 2. She’d just recorded for Deutsche Grammophon and was already a phenomenal rising star in the world of classical piano. Her provocative signature attire was doing its very best to compete with the spellbinding allure of her passionate keyboard artistry totally at one with Rachmaninov’s seductive masterpiece. Few artists in any realm of the performing arts could match her mesmerizing musical presence that evening. Driving home, I kept thinking that what I’d just heard was likely the closest I would ever come to traveling back in time and experiencing firsthand the astonishing brilliance of a young Martha Argerich.

A little over a week ago, I was part of a minority of viewers tuning in CBS’ telecast of the 2016 Kennedy Center Honors who already knew of Martha Argerich’s legendary career at the forefront of the classical genre. She was one of the five honorees sitting beside President and Mrs. Obama to be recognized for their lifetime contribution to our nation’s culture. The others were James Taylor, Mavis Staples, Al Pacino and the surviving members of the Eagles.

For me, honoring Argerich among such icons of popular entertainment was a totally unexpected tribute. Our cultural reality today is that classical music has been shelved by mainstream America’s entertainment industry and thereby virtually unheard by the vast majority of the American public. I can’t remember the last time a classical category nominee has been allowed actual performance time during a Grammys broadcast. Jazz, arguably America’s greatest artistic invention, has suffered the same sad fall from favor, possibly even more so.

I became devoted to Martha Argerich’s career early on. I still have her 1975 vinyl release of Ravel’s solo piano works that I bought that year and keep just for the cover image of her face reveling in what was always an inspired, almost reckless use of rubato. Back then, Argerich, Pollini and Ashkenazy were the holy trinity. Back then, much of the contemporary music scene was still classically trained. Music was still very aware of its own culture.

Martha Argerich’s breakthrough interpretations of classical and romantic works were not for the faint of heart. Her intensity made every performance electric. Her fingers cascaded over the notes, leaving those few that couldn’t keep up behind. Her recordings repeatedly set the bar for artistic insight and immediacy.

This wasn’t the staid artistry of Arthur Rubinstein but rather a fusion of Friedrich Gulda, Arturo Benedetti Michelangeli and Jimi Hendrix. Argerich was of a new generation that reimagined classical repertoire performance as if the composition at hand was in the very act of being created.

Each of the evening’s honorees was feted by others esteemed in the arts, often paying homage to their influence. When Argerich’s turn arrived I was again amazed that Yuja Wang had been perfectly chosen as the de facto heir apparent.

Martha Argerich continues to cast a long shadow challenging all comers to reinvent classical piano’s relevancy. Yuga Wang is part of that legacy. Classical piano today is ripe with truly remarkable newcomers, worldwide, pushing the envelope of interpretation. Major label releases by these young virtuosos abound. Love of classical repertoire is obviously alive and well among so many prodigies dedicating their lives to its continued performance.

Unfortunately, young audiences here in America aren’t acquiring an appetite for serious music’s expression. They have no clue as to who Rafal Blechaz is. His 2015 Portland performance was attended by several conspicuous USM piano students but few others under thirty. In Europe he enjoys near rock star status.

Here in Maine, far-flung from the great cultural centers sustained by a more populous urban existence, we’ve done amazingly well in attracting classical pianists of the highest caliber. My two most memorable Maine performances remain Leif Ove Andsnes conducting Mozart from the piano, and Louis Lortie absolutely nailing Chopin’s complete Etudes. Two of many, many great performances at Merrill Auditorium. Other Maine venues have provided equally outstanding classical events. Jonathan Bliss at the Rockport Opera House. Alexandre Tharaud at U.S.M.. Lise de la Salle with our own Midcoast Symphony.

Fortunately, but sadly, such performances are often reliant on sponsor generosity to offset ticket sales by the ever declining faithful devoted to solo performances. If these offerings are to continue, a fresh audience appreciative of classical piano must be created, culturally exposed to the very best performers of our time while Maine can still attract them. Regrettably, the number of worldclass classical pianists hosted annually by Portland Ovations continues to decrease.

The best way to turn that around is to attend a performance yourself. Better still, invite someone unfamiliar with classical piano as your guest.

In the meantime, treat yourself to a purchase of Ingrid Fliter’s recent transcendent recording of Chopin’s Preludes. Listen and consider that the solo piano is the heart of classical music and live performance is its lifeblood, and that without truly great music all music is diminished.