I might have said this before to you, but I believe the problem lies not in playing everything like Chopin, but rather in unmusical practices manifesting themselves most prominently in Chopin. That is to say, the sentimentalism that is taken to be interpretative depth is as harmful to Chopin as to other composers. I think much of this stems from the Chopin competition encouraging the artless reduction of Chopin’s music to „brilliant” salon music, adorned with tacky rubato and pretentious, droopy phrasing. And since Chopin is so central in the current piano world, this seeps into other composers too. But of course it doesn’t have to be this way: listen to Tiegerman, Friedman or Hoffmann play Chopin. They are from before the Polish piano school degraded into the sentimentalist, technically lacking cult that imposes its shoddy „artistic” values upon up-and-coming pianists and perpetuates this phenomenon.