CARNEGIE HALL PRESENTS

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.

Performers

  • Richard Goode, Piano

Program

  • 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

  • Encores:
  • DEBUSSY "Ondine" from Préludes, Book II
  • SCHUMANN Arabeske in C Major, Op. 18

Event Duration

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

Bios

  • Richard Goode


    Richard Goode has been hailed for music making of tremendous emotional power, depth, and expressiveness, and has been acknowledged worldwide as one of today's leading interpreters of Classical and Romantic music. In regular performances with major orchestras, recitals in the world's music capitals, and through his extensive and acclaimed Nonesuch recordings, he has won a large and devoted following.

    In the 2013-2014 season, Mr. Goode appears as soloist with such orchestras as the New York Philharmonic with David Zinman, Chicago Symphony Orchestra with Sir Mark Elder, Deutsches Symphonie-Orchester Berlin with Herbert Blomstedt, and Royal Scottish National Orchestra with Peter Oundjian, with whom he also appears in Toronto, Ottawa, and Montreal with the Toronto Symphony Orchestra. He performs recitals in New York, London, and Paris; at the Aldeburgh Festival; and on leading concert and university series around the world. In addition, he performs a chamber-music concert with members of the Boston Symphony Orchestra and teaches master classes at major conservatories and music schools on both sides of the ocean.

    An exclusive Nonesuch recording artist, Mr. Goode has made more than two dozen recordings, ranging from solo and chamber works to lieder and concertos. His latest recording of the five Beethoven concertos with the Budapest Festival Orchestra and Iván Fischer was released in 2009 and nominated for a Grammy Award. His 10-CD set of the complete Beethoven sonatas-the first-ever by an American-born pianist-was also nominated for a Grammy and has been ranked among the most distinguished recordings of this repertoire. Other recording highlights include a series of Bach partitas, a duo recording with Dawn Upshaw, and Mozart piano concertos with the Orpheus Chamber Orchestra.

    A native of New York, Mr. Goode studied with Elvira Szigeti and Claude Frank, with Nadia Reisenberg at Mannes College The New School For Music, and with Rudolf Serkin at the Curtis Institute of Music. His numerous prizes over the years include the Young Concert Artists Award, first prize in the Clara Haskil Competition, the Avery Fisher Prize, and a Grammy Award for his recording of the Brahms sonatas with clarinetist Richard Stoltzman.

    Mr. Goode served, together with Mitsuko Uchida, as co-artistic director of the Marlboro Music School and Festival in Marlboro, Vermont, from 1999 through 2013. Participating initially at the age of 14, he has made a notable contribution to this unique community during the 28 summers he has spent there. He is married to the violinist Marcia Weinfeld; when the Goodes are not on tour, they and their collection of some 5,000 volumes live in New York City.

    More Info

Audio

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

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.
Program Notes

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