Performance Sunday, February 22, 2015 | 3 PM

Richard Goode and Friends

Zankel Hall
“One thing Richard Goode exemplifies is a return to the values of Romanticism, including freedom of expression, deep emotional involvement in the music, and a technique so masterful it does not need to call attention to itself” (The Washington Post). Goode’s impeccable pianism is at the heart of this program of chamber music and songs by Schumann and Brahms. Sarah Shafer, a singer The New York Times cited for her “light, lucid soprano and a poised presence that easily projects vulnerability and backbone,” sings the highly impassioned songs of the two composers.


  • Richard Goode, Piano
  • Sarah Shafer, Soprano
  • Itamar Zorman, Violin
  • Kyle Armbrust, Viola
  • Brook Speltz, Cello


  • BRAHMS "Junge Lieder I," Op. 63, No. 5
  • BRAHMS "Lerchengesang," Op. 70, No. 2
  • BRAHMS "Mädchenlied," Op. 107, No. 5
  • SCHUMANN "Des Sennen Abschied," Op. 79, No. 22
  • SCHUMANN Intermezzo from Liederkreis, Op.39
  • SCHUMANN "Der Sandmann," Op. 79, No. 12
  • SCHUMANN "Aufträge," Op. 77, No. 5
  • SCHUMANN Piano Trio No. 2 in F Major, Op. 80
  • SCHUMANN "Kommen und Scheiden," Op. 90, No. 3
  • SCHUMANN "Schöne Wiege meiner Leiden," Op. 24, No. 5
  • SCHUMANN "Heiß mich nicht reden," Op. 98a, No. 5
  • BRAHMS "Der Tod, das ist die kühle Nacht," Op. 96, No. 1
  • BRAHMS "Wir wandelten," Op. 96, No. 2
  • BRAHMS "Botschaft," Op. 47, No. 1
  • BRAHMS Piano Quartet No. 2 in A Major

Event Duration

The printed program will last approximately two and one-half 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.

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  • Sarah Shafer

    Soprano Sarah Shafer has sung principal roles with companies such as San Francisco Opera, Glyndebourne, Opera Philadelphia, and Opera Memphis. She was heard most recently as Nuria in Opera Philadelphia's Ainadamar. Ms. Shafer has appeared with The Philadelphia Orchestra, Orchestra of the Age of Enlightenment, Orquesta Sinfónica del Estado de México,
    WrocławSymphony Orchestra, Louisiana Philharmonic Orchestra, and Quad City Symphony Orchestra, among others. Recently performed works include Bach's St. John Passion, Poulenc's Gloria, Handel's Messiah, and Mahler's Fourth Symphony. In January 2015, Ms. Shafer was the soprano soloist in New York Choral Society's performance of Mendelssohn's St. Paul at Carnegie Hall. She has also performed at the BBC Proms in Royal Albert Hall in London.

    An active recitalist and chamber musician, Ms. Shafer has collaborated with artists such as pianist Richard Goode, guitarist Jason Vieaux, and clarinetist Richard Stoltzman. She spent four summers as a resident artist at the Marlboro Music Festival, and recently performed with the American Symphony Orchestra at the Bard Music Festival. Upcoming seasons include leading roles with San Francisco Opera and Opera Philadelphia. Ms. Shafer is a recent graduate of the Curtis Institute of Music and is currently based in Philadelphia.

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  • Itamar Zorman

    Recipient of the 2014 Borletti-Buitoni Trust Award, violinist Itamar Zorman is the winner of a 2013 Avery Fisher Career Grant and the 2011 International Tchaikovsky Competition in Russia. His previous awards include first prize at the 2010 Freiburg International Violin Competition and the Juilliard Concerto Competition.

    Mr. Zorman has performed as a soloist with the Mariinsky Orchestra, Israel Philharmonic Orchestra, Tokyo Symphony Orchestra, German Radio Philharmonic Orchestra, Utah Symphony, and American Symphony Orchestra in venues such as Avery Fisher Hall, Carnegie Hall
    ,Suntory Hall, and The Concertgebouw. In these performances, he has collaboratedwith conductors Valery Gergiev, Zubin Mehta,David Robertson, James DePreist,and Yuri Bashmet. 

    Mr. Zorman has been invited to the Verbier, Marlboro Music, and Radio France festivals. He is a member of the Israeli Chamber Project and the Lysander Piano Trio; the latter ensemble won the 2012 Concert Artists Guild Competition and the grand prize at the Coleman Chamber Ensemble Competition.

    Mr. Zorman studied atthe Jerusalem Academy of Music and Dance, The Juilliard School, Manhattan School of Music, and the Kronberg Academy. He graduated with an artist diploma from Juilliard, working with Sylvia Rosenberg, and from the Kronberg Academy, studying withChristian Tetzlaff. He plays a 1745 Pietro Guarneri violin from the collection of Yehuda Zisapel.

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  • Kyle Armbrust

    Kyle Armbrust started playing the viola at age three. He gave his New York solo debut with Kurt Masur and the Juilliard Orchestra in Avery Fisher Hall. Mr. Armbrust has also performed as a soloist with the Academy of St Martin in the Fields and the St. Petersburg Philharmonic.

    A dedicated chamber musician, Mr. Armbrust spent five summers at the Marlboro Music Festival, and has performed at festivals in Aix-en-Provence, Caramoor, Charlottesville, Moritzburg, Ravinia, Schleswig-Holstein, Stillwater, and Verbier. He has worked with artists of many different styles, including Elliott Carter, Herbie Hancock, Lauryn Hill, and John Zorn.

    Mr. Armbrust is a founding member of The Knights and a member of the International Contemporary Ensemble (ICE). He is a substitute member of the Mahler Chamber Orchestra, The Saint Paul Chamber Orchestra, and The Philadelphia Orchestra. He joined the Lucerne Festival Orchestra with Claudio Abbado in 2012 and 2013, and is currently principal viola of the Westchester Philharmonic. He was previously the assistant principal violist in the New Jersey Symphony.

    Mr. Armbrust studied with Misha Amory, Heidi Castleman, and Michael Tree while completing three degrees at The Juilliard School. He plays a viola made in Milan in 1752 by Carlo Antonio Testore.

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  • Brook Speltz

    Born in Los Angeles to a family of musicians, cellist Brook Speltz has performed to critical acclaim across the US and abroad. Following his concerto debut with the Houston Symphony after claiming first prize in the Houston Symphony Ima Hogg Competition, other solo engagements have included performances with the International Contemporary Ensemble (ICE), Curtis Symphony Orchestra, Manhattan School of Music chamber orchestra, Brentwood Westwood Symphony Orchestra, and Music Academy of the West Festival Orchestra.

    Mr. Speltz is honored to have participated at the Marlboro Music Festival for the past three years-a community he is humbled and grateful to be a part of. As a recitalist and chamber musician, he has performed with the Omega Ensemble, Israeli Chamber Project, Kronberg Academy, IMS Prussia Cove, ECCO, and Pacific Serenades, among others. His summers at Marlboro and other festivals have led to collaborations with such esteemed artists as Richard Goode, Peter Wiley, Kim Kashkashian, Samuel Rhodes, Itzhak Perlman, Dénes Várjon, and Lucy Chapman. Mr. Speltz is a graduate of both the Curtis Institute of Music and The Juilliard School, as a student of Peter Wiley and Joel Krosnick, respectively. He makes his home in New York City. 

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Brahms's Quartet No. 2 in A Major, Op. 26 (Allegro non troppo)
Isaac Stern, Violin | Jamie Laredo, Viola | Yo-Yo Ma, Cello | Emanuel Ax, Piano

At a Glance


Although Brahms was a less prolific song composer than Schumann—his published catalogue runs to some 275 solo and ensemble works—his contribution to the genre was no less significant and wide-ranging. His characteristic blend of tenderness and muscular lyricism is evident in the six songs to be heard tonight, from the youthful exuberance of “Junge Lieder I” to the poignant introspection of “Lerchengesang” and the calm acceptance of death in “Der Tod, das ist die kühle Nacht.”


The vast majority of Schumann’s more than 400 lieder were written in two bursts of intense creativity that took place at the beginning and end of the 1840s. The seven songs on our program run the gamut, from the nursery-tale simplicity of “Der Sandmann” to the quasi-operatic and harmonically adventurous setting of “Heiß mich nicht reden,” one of Mignon’s songs from Wilhelm Meister’s Apprenticeship by Goethe.

ROBERT SCHUMANN  Piano Trio No. 2 in F Major, Op. 80

What Schumann referred to as his “trio thoughts” in the summer of 1847 were undoubtedly inspired by the piano trio that his wife Clara had composed a year earlier. The F-Major Trio and its companion in D minor—both completed that fall—reflect Schumann’s growing interest in counterpoint and canonic writing, the “new manner of composing” that made the 1840s a pivotal decade in his artistic development.

JOHANNES BRAHMS  Piano Quartet No. 2 in A Major, Op. 26

In the second of his three piano quartets, Brahms ingeniously exploits the distinctive characters of the piano and string instruments, while enabling them to meet on common stylistic ground. The A-Major Quartet featured prominently on the composer’s successful concert debut in Vienna in 1862. “I had much joy yesterday,” he reported to his parents in Hamburg, adding that “I played as unconcernedly as though I were at home among my friends.”

Program Notes
This performance is part of Chamber Sessions III.