For a significant number of people, she is simply the greatest pianist of our time. No matter what repertoire she plays, she sounds, as they say, "in her element". Indeed, her playing is entirely lacking in vanity, yet never remotely anonymous. Nor can one even speak of "Argerich's Beethoven" – or "Argerich's anything else", for that matter, since her playing of every work – of every theme or section within a work – is conceived so intensely from within that it doggedly resists categorization. Interestingly, though not perhaps surprisingly, the same variety of approach is evident in the way she plays the piano. To speak of "Argerich's technique" is again to oversimplify. She has this technique and that technique and any number in between. What they all have in common is their naturalness, their visible "fitness for function". Her interpretations are united by the effortlessness and pure joy of her music making and her individual approach to each work, each situation and each audience.