Performance Thursday, May 1, 2014 | 8 PM

Richard Goode

Stern Auditorium / Perelman Stage
“It is virtually impossible to walk away from one of Richard Goode’s recitals without the sense of having gained some new insight, subtly or otherwise, into the works he played or about pianism itself” (The New York Times). The preeminent pianist has developed a loyal following of voracious audiences here at Carnegie Hall and worldwide, performing leading interpretations of Classical and Romantic repertoire.


  • Richard Goode, Piano


  • JANÁČEK "Our Evenings" from On the Overgrown Path, Book I
  • JANÁČEK "A Blown-Away Leaf" from On the Overgrown Path, Book I
  • JANÁČEK "Come With Us!" from On the Overgrown Path, Book I
  • JANÁČEK "Good Night!" from On the Overgrown Path, Book I
  • SCHUMANN Davidsbündlertänze, Op. 6
  • DEBUSSY Préludes, Book I

Event Duration

The printed program will last approximately two hours, including one 20-minute intermission.


Bach's Partita No. 3 in A Minor, BWV 827 (Fantasia)
Richard Goode, Piano

At a Glance

Tonight's concert presents three extraordinary musical poets. Although Janáček, Schumann, and Debussy were responding to very different landscapes, times, and emotions, they each provided vivid points of access to their respective sound worlds. In four movements from Janáček's On the Overgrown Path, Book I, we catch a nocturnal glimpse of the composer's native Moravia. Composed during a particularly difficult period in Janáček's career, these pieces nonetheless show great poetic self-determination through their totally original idiom.

If Janáček's demons were eventually exorcised by the composer's establishment within contemporary Czech culture, Schumann's were more deep-seated. Railing against the prevailing philistinism of his time, he retreated into an imaginative world that was populated with contrasting characters. This artistic engine room generated a number of vivid piano works during the 1830s, such as his Davidsbündlertänze, but it was also sadly indicative of an increasingly overwrought mind.

French composer Claude Debussy has long been thought of as an impressionist, a sort of musical equivalent to his compatriots Manet and Monet. Yet Debussy often belittled the term impressionism; though his various preludes have evocative titles, these were hidden at the end of each piece so as not to produce mere picture postcards. Indeed, with their ingenious use of harmony, texture, dynamics, and rhythm, the preludes are so much more than decorative splashes on a musical canvas.

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