Performance Friday, April 24, 2015 | 8 PM

Richard Goode

Stern Auditorium / Perelman Stage
“It’s virtually impossible to walk away from one of Richard Goode’s recitals without the sense of having gained some new insight, subtle or otherwise, into the works he played or about the pianism itself,” wrote The New York Times. Goode has plenty of insights to share in a program that features a revelatory Beethoven sonata, a Debussy work sparkling with radiant color, and brilliant music by Mozart, Schumann, and Brahms.


  • Richard Goode, Piano


  • MOZART Adagio in B Minor, K. 540
  • BEETHOVEN Piano Sonata No. 24 in F-sharp Major, Op. 78
  • BRAHMS Klavierstücke, Op. 76
  • DEBUSSY Children's Corner
  • SCHUMANN Humoreske in B-flat Major


Brahms's Klavierstücke, Op. 76; No. 5: Capriccio in C-sharp Minor
Richard Goode, Piano

At a Glance

WOLFGANG AMADEUS MOZART  Adagio in B Minor, K. 540

This short but substantial Adagio is among many standalone piano pieces that Mozart wrote in the last decade of his life. They reflect his determination to expand the scope of keyboard technique and expression, even as he breathed new life into forms and genres associated with Bach and other 18th-century masters.

LUDWIG VAN BEETHOVEN  Piano Sonata No. 24 in F-sharp Major, Op. 78

Beethoven had a special affection for this two-movement work, written in the wake of the “Emperor” Concerto. Commissioned by Muzio Clementi for his publishing firm in London, the Sonata in F-sharp Major is notable for its tonality—unique in Beethoven’s oeuvre—as well as its concision and dynamic energy.

JOHANNES BRAHMS  Klavierstücke, Op. 76

Brahms lavished as much craftsmanship on his short piano pieces as on his sonatas and concertos. The eight capriccios and intermezzos that comprise his Op. 76 Klavierstücke illustrate the Romantic genre of the “character” piece, a vehicle for distilling a particular mood or musical idea to its essence.

CLAUDE DEBUSSY  Children’s Corner

In this beguiling suite composed for his three-year-old daughter, Debussy impishly quotes a well-known passage from Wagner’s Tristan und Isolde. Harold Bauer, who premiered Children’s Corner in 1908, confessed that he was oblivious to the allusion until the composer pointed it out to him.

ROBERT SCHUMANN  Humoreske in B-flat Major, Op. 20

This fiercely challenging and somewhat neglected masterpiece displays the wide range of styles and emotions that characterize Schumann’s early piano music. While it was in progress, he wrote to his finacée, Clara Wieck, that he had “been at the piano all week, composing, writing, laughing, and crying all at once.”

This performance is part of Keyboard Virtuosos II.