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

  • Encores:
  • JANÁČEK "Good Night!" from On the Overgrown Path, Book I
  • BEETHOVEN Bagatelle in B Minor, Op. 126, No. 4

Event Duration

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


  • 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. Through regular performances with the major orchestras, recitals in the world's music capitals, and acclaimed Nonesuch recordings, he has won a large and devoted following.

    Mr. Goode began his 2014-2015 season by opening Lincoln Center's Mostly Mozart Festival with a performance of Mozart's Piano Concerto in A Major, K. 488. He features in five appearances at Carnegie Hall: in a recital in the main hall, as a soloist with the Boston Symphony Orchestra and conductor Andris Nelsons, in two chamber music concerts with young artists from the Marlboro Music Festival, and as a leader of a master class on Debussy piano works. He appears as soloist with orchestras that include the Los Angeles Philharmonic, as well as with the St. Louis, Milwaukee, and San Diego symphonies. In addition, this season includes recitals at The Concertgebouw in Amsterdam, Wigmore Hall in London, the Celebrity Series of Boston, Cal Performances in Berkeley, the Philadelphia Chamber Music Society, University Musical Society in Ann Arbor, Shriver Hall in Baltimore, The Royal Conservatory of Music in Toronto, The Schubert Club in Saint Paul, Spivey Hall in Atlanta, Yale School of Music, Dartmouth College, Duke Performances, Middlebury College, and in other major series in the US and Europe. In addition, Mr. Goode presents master classes at top conservatories and universities around the world.

    Mr. Goode is an exclusive Nonesuch artist and has made more than two dozen recordings, including the complete Beethoven piano sonatas; the complete partitas by J. S. Bach; and solo and chamber works of Brahms, Schubert, Schumann, Chopin, Busoni, and George Perle. His four recordings of Mozart concertos with the Orpheus Chamber Orchestra were received with wide critical acclaim, including many "Best of the Year" nominations and awards. His recording of the Brahms sonatas with clarinetist Richard Stoltzman won a Grammy Award.

    Mr. Goode is married to 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


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.”

Program Notes


This performance is part of Keyboard Virtuosos II.